I 11 A BI-MONTHLY PUBLICATION THE ARTS Volume 2, Issue 3 January 15/March 15, 1988 Editor-in-Chief Debra Brehmer From the Editor

Associate Editor Calender Editor Business Manager Of all the feedback we hear about the maga­ porary art from around the world, and the third Therese Gantz zine, some of the best compliments come from will be a huge survey of Wisconsin art. out-of-towners. Over and over again, we hear What a year! As far as Art Muscle goes, 1988 people from Chicago, Madison or former Mil­ will be business as usual. We recently complet­ Associate Editor-Music waukee residents living in New York say, "I ed a five-year plan, so we do intend to be can't believe there's so much going on in the Bobby DuPah around for a long time (to dispel any rumors to arts in Milwaukee." Well, there really is a lot the contrary). We hope to keep growing, but we happening here, and 1988 will be an even more will need more advertising support to do so, Photo Editor fertile year. The Milwaukee Repertory Theater and Art Muscle is a great place to advertise. We will open its Stiemke Theater at the end of reach a diverse market of intelligent, art-sensi­ Francis Ford February. This intimate 200-seat theater will be tive people. We also encourage subscriptions. an alternative space for the development of So, if you want to support the magazine, sub­ new works and the exploration of new play­ scribe! We've started a special Friends of Art Ad Manager wrights. The Rep's Cabaret is also opening the Muscle subscriber category for anyone who first week of March with seating for 125, food Sam Woodburn contributes $50 or more. You'll receive a five- service and entertainment. The PM Ballet year subscription and have your name listed on opens its Dance Factory on June 25 with the the masthead. Hamburg Ballet. The Factory, 710 W. Virginia, will be a 400-seat theater for experimental Have a good year! work and new choreography open to all local dance companies, who previously never had a Debra Brehmer Design Assistance centralized performance space. The Factory will give dance a new profile in Milwaukee. Don Sefton, David Schaefer, (The high school year book photographs that Also in 1988, the Milwaukee Art Museum will Linda Ponsbach, Scot Schanke appeared near the table of contents in the last have its busiest year ever with its centennial & Christine issue of Art Muscle were of Pee-Wee Herman, celebration running from April through Octo­ in case you didn't recognize him by his real ber. Three major exhibitions are slated. One Typesetting by Ries Graphics name, Paul Rubenfeld. Milwaukee Art Muse­ will include European and American art from Printing by Citizen Publishing um Chief Curator James Mundy attended high the 1880s. One will be a major show of contem­ school with Pee Wee in Sarasota, Via.)

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Entire contents copyright © Art Mus­ cle-Milwaukee, Inc. All rights re­ served, except in reviews. Reproduc­ tions in whole or part without written permission is prohibited. Art Muscle is a trademark of Art Muscle-Milwaukee, Inc. If they [his competitors] were drowning to death, I would put a hose in their mouth." Subscriptions rates in continental Ray A. Kroc U.S.: $12 one year; elsewhere, $16 Founder - McDonalds Corp. (Kroc, who died in 1984, left one year. V/i hrs. of video taped messages to be listened to by McDonald's employees from which the foregoing was ex­ cerpted.)

2 Art Muscle Art Muscle C O N T E N T S

FEATURES

Richard Avedon 14 Tom Bamberger

Ko-Thi 18 Pat Hidson

Polar Bears 25 Jim Brozek & John Blum

Tom Strini 30 Debra Brehmer

DEPARTMENTS

AGOG 6

Letters 7

Letter Home 7

Post Facto - Reviews 10

Previews 11

Ear Muscle 12

Walk This Way 22

Linear B 23

Calendar 35

Cover: Eric J. Wallner July Sky & B-29 Locally associated with his abstract wilderness still lifes, Eric turned his hand-crafted 4x5" view camera on the EAA flight line in Oshkosh, Wi this past July. "Design in nature & design in aircraft are both governed by physics & survival; maple leaves & a vintage WWII B-29 Bomber have much in common, conceptually," he states.

. Qfeftains

in their only 1988 Milwaukee appearance

Sunday, March 20 7:30 p.m. Pabst Theater

Tickets: 271-3773 and TICKETRON outlets

MEONEMI

MILWAUKEE CHAMBER THEATRE PRESENTS FAITH HEALER BY BRIAN FRIEL rseu) MARCH 4-20,1988 AT SKYLIGHT THEATRE :K 813 N. JEFFERSON ST. Jewry lightjmdmomnmvp CALL 271-8815 FOR , (I • v.; TICKET INFORMATION

4 Art Muscle February 11-14 at the PA.C. ROMEO AND JULIET LOVESONGS MENAGE A QUATRE STEADFAST TIN SOLDIER Four beautiful ballets in one romantic program. Tickets start at $5.00. For reservations call 273-7206.

Pennsylvania and Milwaukee Ballet Robert Weiss Artistic Director AGOG

A rts Friends Mime benefit WUWM changes format keting director of the Milwaukee Sym­ trance and returning at 5:30 p.m. Cost In a show of solidarity for Friends As of January 4, WUWM, 89.7FM, has phony Orchestra for three seasons, has is $42 with Art Institute admission, Mime Theatre, over 50 performers dropped classical music from its format resigned from her job to become ex­ transportation and lunch at Berghof's, and 15 visual artists gave a triumphant and will air only news and jazz. ecutive director of the newly-formed a fine German restaurant, included. outpouring of talent to aid fellow art­ WUWM Grants Manager Marsha Great Woods Institute for the Arts in For reservations call Karen Kane at ists in the troupe at a Crisis Bash at the Sehler said the change was meant to Massachusetts. She begins her new job 332-3346. (The Art Museum is also of­ Eagles Club on Jan. 3. fill a void in local radio programming. on Feb. 8. The symphony has not hired fering a trip to Madison to see the With WFMR already offering classical anyone to fill her position yet. Richard Avedon exhibition at the Madison Art Center on Saturday, Feb­ Two members of Friends Mime, Bar­ music, Sehler said, WUWM is now Marc Haupert recently resigned as ruary 27. Cost is $38 for Art Museum bara Leigh and Raphael Smith, were streamlining its mission to offer com­ Managing Director of Theatre X, a po­ members and $44 for non-members critically injured when their van over­ prehensive news coverage. The new sition he held for the past year and a and includes admission and lunch at turned in a snowstorm about one format will include news every day un­ half. Taffnie Bogart, former Business the White Horse Inn. Call 332-3346 month ago. Both Leigh and Smith are til jazz programming takes over at 10 Manager of Theatre X, has been ap­ for reservations). receiving therapy and are expected to p.m. Ten minutes of each news hour, pointed to Haupert's position. miss the winter and possibly spring Sehler said, will be devoted to the local seasons, causing Friends Mime to go art scene, and from 3 to 4 p.m. Mon­ Kiefer show in Chicago Clemente exhibition into serious debt. day through Fridays, a national arts The Anselm Kiefer exhibition at the An exhibition of approximately 25 program called Fresh Air will be pre­ Art Institute of Chicago is on view major etchings, woodcuts, lithographs The Crisis Bash raised more than sented. Sehler said the station is inter­ through January 31, and it really is a and monotypes by Francesco Cle­ $4,000 for the troupe, with more than ested in ideas for arts-related program­ "must see." The show includes numer­ mente will be at the Milwaukee Art 400 people in attendance. ming. Call Program Director Gary ous monumental paintings as well as a Museum January 21-March 27. Cle­ Vaillancourt at 229-4664 with sugges­ series of handmade books by this im­ mente, a leading Italian-born, contem­ Friends Mime, however, still needs a tions. portant, contemporary German paint­ porary artist, has achieved interna­ great deal of support. Tax-deductible er. A bus trip from Milwaukee Art Mu­ tional recognition for his work. The contributions can be sent to Friends Harris leaves Symphony/Haupert seum to the exhibition will be offered exhibition is part of the Art Museum's Mime Theatre, P.O. Box 92127, Mil­ leaves Theatre X on Saturday, January 23, departing at CURRENTS series. Call 271-9508 for waukee, Wl 53202. Christine Harris, who served as mar­ 8:30 a.m. from the museum's south en­ more information.

G rants Wisconsin Arts Board Cook wins film grant Change, Inc. grant Light Work grants The Wisconsin Arts Board deadline for Cathy C. Cook of Milwaukee recently Change, Inc. provides emergency Light Work provides fellowships, proj­ project, salary assistance and artist res­ received a $13,465 grant from Film in grants for eviction, utility turn-off, ect grants and artist-in-residence pro­ idency grants is Feb. 1. For applica­ the Cities 1987 Regional Film/Video medical expenses, fire and theft losses. grams to support artists in photogra­ tions and guidelines, contact The Wis­ Grant Program to develop an experi­ (Not for supplies or projects). Write to phy. Write or call, Light Work, 316 consin Arts Board, 131 W. Wilson St., mental film, "Put Up With Yourself." Change, Inc., Box 705, Cooper Sta­ Waverly Ave., Syracuse, NY 13210 Madison, Wl 53702 (608) 266-0190. tion, New York, NY 10016 (212) 473- (315) 423-2450. 3742. opportunitie s Curatorial position met, Fond du Lac, Washington and David Van Vort Editions atmg the work. Artists will be given The John Michael Kohler Arts Center Ozaukee counties may enter work. David Van Vort Editions, a new limit­ exhibitions, complete with opening re­ seeks an associate curator to develop Each entrant must submit at least two ed edition publisher of prints and color ception and invitations to be handled exhibitions and related publications, but not more than three original photography in Madison, is seeking by the Gingrass Gallery. For more in­ including major catalogues. Require­ works. Entries should be hand deliv­ work from emerging artists, full-time formation, contact Katie Gingrass at ments include: a substantive back­ ered to the Arts Center on Sunday, art students, MFA candidates and 289-0855. ground in contemporary American Feb. 7 from noon to 5 p.m. or Monday, graduates. Send proposals, slides and Mail art show art, excellent research and writing Feb. 8 from noon to 8 p.m. There is no relevant background information with Milwaukee High School of the Arts is skills, and strong organizational and entry fee. Registration forms and more S.A.S.E. to: David Van Vort Editions, hosting a Mail Art Show called Tony communication skills. Send resume, information may be obtained by call­ 2 West Mifflin St., Suite 205, Madison, Loves Maria. Mail valentines or any references, salary requirements and ing (414) 458-6144 or writing to the Wl 53703 or call (608) 251-5788. other mail art work to Mail Art, Mil­ examples of writing to: Assistant to the John Michael Kohler Arts Center, 608 waukee High School of the Arts, 2300 Director, John Michael Kohler Arts New York Ave., P.O. Box 489, Sheboy­ Cafe needs art W Highland, Milwaukee, 53233 by Center, P.O. Box 489, Sheboygan, Wl gan, Wl 53082-0489. Melange, the new cafe/bar at 720 N. February 5. 53082-0489 (414) 458-6144. Old World 3rd St., is interested in Milwaukee Players auditions Illustrator/artist needed showing and selling artists' work in the The Milwaukee Players will hold audi­ Entries sought Artist Paul Krajniak would like to hire restaurant. Contact Larry at 291-9889. tions for the Tony Award winning Artists are invited to submit work to an illustrator/artist to create story- musical Pippin, at 7:30 p.m. Feb. 1 and Six Counties, a major triennial exhibi­ boards for his up-coming production of Coffee Trader art 2 at the Ward Theatre on the grounds tion opening Sunday, March 6 at the BIRD IN DOG JUNGLE and KNEE Art work is now being shown on a of the Veteran's Administration. Roles John Michael Kohler Arts Center in DEEP IN ATLANTIS. Experienced rotating basis at the Coffee Trader res­ are available for people of all ages. Sheboygan. Anyone 18 years or older artists may leave their name and num­ taurant on Downer Ave. Katie Gin­ Call 475-8186 or 645-7577 for more living in Sheboygan, Manitowoc, Calu­ ber at 347-1746. grass of Katie Gingrass Gallery is cur- information.

Gossi p There is gossip that has dignity and apologize for any distress that was public office?) von Milwaukee is going meets the Dalai Lama." ... .Pete gossip that doesn't. Good gossip and caused And now for the good to continue his campaign, however, as Christensen, a man of many hats, has bad gossip. And the astute gossip col­ stuff ... Jimmy Von Milwaukee's a write-in candidate Kent been working on a rhythm and blues umnist must walk a fine line betwixt campaign for Mayor of Milwaukee Mueller and Linda Mitshull, co-part­ opera that will include 10 bands and an the two. In our last issue of Art Muscle came to a somewhat abrupt halt on ners in the new Metropolitan Gallery, operatic score based on the life of Fa­ we introduced new gossip columnists, New Year's Eve as he was soliciting are getting married on Feb. 29 ... ther Groppi. This should be a good Miss Yvonne and Miss Nancy. What a guests at a party to sign his petition to .Fanny's having puppies in mid-Febru­ one. It's tentatively scheduled for ruckus they caused. Certain items in get on the ballot. (He needed 1,500 ary ... .Paul Krajniak and Rip Tenor March 25 at the Jewish Community the column raised the dander of at signatures). One party-goer refused to have been doing strange things in Center The first Art Pool Party least several individuals, and brought sign and then actually crossed out a preparation for Krajniak's project, will be February 7 at Pulaski Pool, vocal responses from both pro-gossip page of signatures in an angry response Knee Deep in Atlantis. They've been 2701 S. 16th. Demitra, the sculptor, and anti-gossip forces. Well, Miss to von Milwaukee's badgering. The seen using high caliber pistols and ru­ organized this bash. Admission will be Yvonne and Miss Nancy still plan to would-be Mayoral candidate respond­ mor has it, they've been studying box­ about $3 and will include beer, wine, contribute to the column, but they ed by throwing a platter of vegetables ing. The performance will take place in food, music, life guards and parking. promise to be a bit more discreet in the and dip in the aggressor's face. (Is that spring at a church on the East Side. Call Demitra at 671-7098 if you're rumors they issue from here on. So, we proper behavior for a man seeking Krajniak describes it as "Motown wondering what to wear ...

6 Art Muscle Letters to the Editors

Wordplay saves day and lack sensitivity that prey on other Webster's Books and my own time and think it's a boring waste of printing in Book of Might peoples experiences with such nega­ money that brought him here as part of ink. You waste five pages on some guy With all due respect to Kelli Peduzzi's tivity. As a local performer in this city I a very limited tour that included only taking pictures of art, or what he considerable sensitivity to the art of must speak out for my sister and fellow New York, San Francisco and Milwau­ thinks is art. He doesn't look too cre­ poetry, I think she just misread Rick performers. The column was not only kee.) ative to me. He looks like he's trying to Oilman's Book of Might, in criticizing not constructive, but destructive. If be real artsy-fartsy thinking he's a the uniformity of form of the brief 14- you want the arts in this city to be Waste of ink great photographer. I seriously dis­ line one-page poems that comprise the more unified and prominent, speaking Don't get me wrong, I love your maga­ agree with the guy. book. That would be like criticizing a with disrespect and hurtful sarcasm of zine, but I have a bit of criticism for Sincerely, book of haiku because they all were in the people who have given their ser­ you. In your 1st anniversary issue XAV three lines or had seventeen syllables. vices as Artists in this city is not the (Sept. 15-Nov. 15) you let some guy 2208 E. Beverly The poems in the Book of Might bear way. I'm disgusted that you would al­ named John Sobczak do a little thing Milwaukee, Wl comparison to haiku for their brevity, low yourselves to be so superficial and called "The Cigarette Pictures." I and to sonnets (a Webern-esque fore­ petty. Without us who persevere and shortening of which form they are) for have persevered to create theatre, art, their ability to compress quite a music, dance, etc. in the City of Mil­ mouthful — and mindful — into very waukee, you would not have much to Letter Home few words. Not just pith-elegant, these write about! Appreciate who you sup­ poems rollick in excellent wit. posedly support!!! Signed, Kelli wrote that Book of Might "does singer, actress, composer, no favors for the language." Au con- Rachel Borouchoff Remember Moe Meyer? Former Man­ resisted any attempts to prove me traire, Rick's wordplay saves the day. aging Director of Theatre X and the wrong. Well, I tried it and it was sim­ His sense of rhyme reawakens in more Questions Wilson interview performance artist who stuck fish ple. And it was easy. You don't need sophisticated latterday adult erudite I realize it's beyond your power to hooks through his wrists? Moe was one Shirley MacLaine to show you either. terms the sheer childhood delight of screen and properly edit every article of the more colorful personalities Of course, a performance artist is go­ rhyme. Rick eludes the spoon June- in your magagzine for the type of fab­ within the local art scene. But, Mil­ ing to tap into something a little bit off moon rut, uses rhyme in a fresh way. rication which is evident in your No­ waukee grew too small for him and he center. I now find I channel an entity And though the poems are all in the vember 15/January 15 issue in the arti­ moved on to be the source of new ru­ who delivers one-liners and is fond of "same" form, they vary widely in cle titled simply "Colin Wilson." mors in bigger cities. He writes home costumes. Do you know what it is like rhythm, subject and tone. His recita­ However, I feel it is my responsibility from Chicago where he has intermit­ to have to channel an entity who does tion by heart of all 46 poems in the to inform you and your readership that tently spent the last year. impressions of other mediums' con­ book at the Piano Gallery the night of the alledged interview of Wilson con­ tacts? Sept. 17 was an impressive feat of ducted by Howard Taylor probably When I left Might. Perhaps hearing them aloud in never took place. I saw Wilson's ap­ Milwaukee last year, I awoke one My first thought was that I could get a his uniquely musical precise enuncia­ pearance last Nov. 2 at Webster's morning to find that I was living on a better ticket price for this than that old tion style, is the most effective way to Books, and after reading your article, I commune in northern California ... blood and guts performance art. But, I be won over by these poems. Their am convinced beyond any doubt that Holy Summer O' Love. I kept wonder­ chilled out enough to find that I was subtle shiftings of rhythm and thought its author merely recorded Wilson's ing why a performance artist from Mil­ content sitting and omming with Sun­ and near-tortured terseness then strike speech, edited it. He then fabricated waukee was suddenly singing hymns shine and Rainbow, and the other long the ear like no one else does, and wel- questions for which he thought selec­ to the Great Mother with these long haired boys and girls. Everyone was so comely so. A maverick Emily Dickin­ tions from Wilson's presentation haired boys and girls, with names like relieved when I finally grew a beard son approach right here in Milwaukee. would constitute logical responses. Sunshine and Sierra and Rainbow. and got shaggy. Everyone except my Unfortunately, his questions were And how did I explain to them that hairdresser. He had to figure out where Respectfully, poorly conceived, and that is why, there was no special significance when he was going to get the money for the Jeff Poniewaz through Howard Taylor's deception, I wore black leather to breakfast or next trip to Acapulco. Colin Wilson — author of over 50 told one-liners during the full moon Hip stimulation books — is made to sound wooden and gatherings? That was just what perfor­ This year I am living in Chicago, begin­ We'd like to thank you for the breath quite uncovincing. In fact, Wilson's mance artists did, I explained. ning my practice as a massage therapist of fresh air that your publication presentation was inspiring and chal­ and herbalist. Beautiful timing ... a brings us. You see, we're a couple of lenging. He is a very interesting per­ I did begin to wonder how I would new law, recently passed, has just out­ Milwaukee kids who recently emigrat­ sonality indeed. It is Howard Taylor's ever fit in. Especially after I formed an lawed herbalists and massage thera­ ed to Indianapolis (Indianoplace), the careless treatment of this important organization at the commune called pists in the state of Illinois. Ommmm. cultural wasteland of the Midwest, writer's appearance which is to blame "Jews Against Omming" one day Ommmm. I can just see the picture: where we frequently find ourselves in for any misconception that resulted re­ when the Hare Krishnas just got too hitching back to the commune, clutch­ dire need of some hip stimulation. garding either Wilson or his state­ much for me (yes, they actually had ing my tarot cards and macrame kit, Trust us — it can't be found here. Art ments. Taylor shows no concern for his H.K.'s there). For some reason I went not to mention the entity (his name is Muscle will surely help us survive until readers, or for Colin Wilson for that about for several weeks entreating the Bruce). such time as we can return "back home matter, who was kind enough to pro­ Jews at the commune not to forsake again" to Milwaukee. Congratulations mote Taylor's own book store (Web­ the religion of their fathers. I fanta­ Apart from the legal hassles, Chicago on your successful, bold and innova­ ster's) by appearing there. I take of­ sized that I was Charlton Heston rescu­ has turned out to be incredibly annoy­ tive venture. fense at the liberty Taylor has taken ing the Jews from bondage to the Ma- ing. I can't find a place to buy basmati with Wilson's presentation, and hope harishi. Why expose yourself to more rice, nobody knows what real lox is, David Luce and Joni Goldman that in the future Taylor will be more bullshit than you need to? After all, the black rinses in the hair are still consid­ Indianapolis, Ind. conscientious with his readers and Jews have the Cabbalah. Why follow ered trendy, there are twenty gay bars with the material from which he writes Rajneesh around with a pooper scoop- within five minutes of my front door Responds to "Stephan Stinks" letter his articles. er? Does spiritual enlightenment mean and none of them knows that a lot of Dear Gutless Wonder No Name Mil­ Mark Putzi that you have to keep a case of Glade wine comes in bottles that 'don't' have waukee County Resident and Artist, Milwaukee in the house? And why do these gurus twist off caps, I've been stood up so keep burning incense? They have to be many times I have to charge a nonre­ In December you wrote a letter to the covering up something. fundable cash deposit before a date, editor in Art Muscle about the Gary (Howard Taylor responds: I have been my car was stolen, I lost all of this weight and none of my clothes fit cor­ Stephan interview. In it you criticized following Colin Wilson's career for After several months, I finally got the rectly, there isn't a single tv station Mr. Stephan for being a "bullshitter over 20 years and have been an avid idea. I was sitting under the oF mystic that reruns / Love Lucy, and Bruce is from New York," and claimed you collector of his books. However, I do oak tree when it happened. I received channeling this extremely stale routine were "serving a slice of truth." not hold his ideas to be sacrosanct. My illumination ... in other words, I be­ he picked up a few centuries ago. intent in the interview was to get at the came a New Ager. And why not? What Ommmm. Ommmm. Why hide behind your slices? Sign person behind the ideas. Unfortunate­ is a New Ager, after all, other than a your letters No Balls. ly, transcribing over an hour of conver­ hippie with a hair cut? And as long as I sation taped in Jim Pease's studio and didn't have to give up my hairdresser, Remember, Grasshopper, you have a Judith Moriarty the limitations of the length of the arti­ then what the hell ... or should I say mission in life. Yes, master; I see it now. Washington County resident and art­ cle did not represent the direction of what the karma? Please pass the tofu, The first comedy trance channelling ist. the entire interview. The interview I'm late for the sitar concert. club? Or maybe-4he first drive-thru and video are to be used in upcoming McDharma's? Hang on Bruce, we're Angry about Gossip projects around the Mind Parasites almost there. I don't want to hold my anger back piece that I helped produce with Jim As I was saying, I had an experience about the gossip column in the last is­ Pease and Bauer Dance. It was our in­ that changed a lot of things. I discov­ Moe Meyer sue of Art Muscle (Nov. 15-Jan.l5 is­ volvement that brought Mr. Wilson's ered trance channelling. As a firm dis­ 606 W. Barry #182 sue). It is only people who are bored attention to Milwaukee and it was believer in that kind of hocus-pocus, I Chicago, ILL 60657 W " ' 7/ \w/; != 1 \N //uVuV//\tt^// A1BBBOSH " „ « * * ft ;»//«// We want to thank our customers for a ^ // ^ // ; "SIS great 2 years ,NCU%ETAKE HOME and invite you to w * // // join us at our BASIC FEB 19 or 20

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ON THE VERGE problems with accent and pacing. ject: where we're going. The comic be­ The scene is pared down to its essen­ A Geography of Yearning Some important lines were lost on fall­ comes a viable alternative to doom. tials, yet the sitter is left with just a few ing inflections while other less signifi­ stark but comforting, narrative ele­ Nov. 24 - Dec. 14 Though the Clavis production could cant ones were delivered with great ments. Likewise, a nun, Sister Deria Clavis Theatre have used a bit more business, the theatrical aplomb. Goertler, sits peeling apples in the staging and sound effects were gener­ church kitchen. She's oblivious to the My response to the Clavis Theatre's ally simple and effective. I left the the­ For the most part Amy Zeh (Alexan­ camera and we see her in a private recent production of Eric Overmyer's dra) and Pamela Webster (Fannie) atre almost convinced that one of moment that suggests the personal, On The Verge, maybe because my ex­ seemed at home with their words and Mary's parting remarks (a comeback solitary devotion and spare domestic­ pectations were especially high, was bagged their laughs. When they be­ to Berryman's fourteenth Dream ity of her trade. In another image of St. mixed (I had first seen the play at the came too theatrical, my sense was that Song) is true: "The future is not bor­ Gregory Church's cemetery, clouds Guthrie about a year ago and was the direction (Ted Altschuler) may ing," for as Berryman's mother always crowd an early evening or night sky swept away). This time, there was too have been at fault. Patricia Rouleau told him, "Ever to confess you're bor­ and the grave markers glow white in much geography, not enough yearn­ (Mary), however, spoke in a monotone ed/means you have no/Inner re­ the sunset as in a similar image by pho­ ing. The production's focus was not that frequently lacked energy. She lost sources." tographer Walker Evans. The scene clearly on the play's best features, many good opportunities. Though she summons the illuminating powers of leaving the audience with a comedy had been brought in from New York Debra Kay Vest the past, the sense of history being so which was fun but lightweight and at especially to play this role, her perfor­ (Debra Kay Vest is a Milwaukee poet times almost foolish, as perhaps Gulli­ close at hand. (Lindemann says Evans mance was unimpressive. Her charac­ and a past editor of Cream City Re­ ver's experience with the is one of their main inspirations). ter is perhaps the play's most impor­ view.) Houyhnhnms might be seen out of tant one since it is she who leaves her context. companions and ventures beyond 1955. A stronger performance in this All in all, these photographs celebrate In Overmyer's On The Verge, the fu­ role might have meant a considerable the people they depict. Each person, ture is more language than land, or a improvement in this production's however vulnerable, has a heroic landscape of terms, tongue-twisters, overall success. sense. "They each have an incredible jungles, names, lyrics, and labels amount of personality and they seem which precedes the one of earth and so untouched by the media in some trees. The play opens in 1888 with It is true, of course, that On the Verge way," Lindemann said. Both the pho­ three Victorian women (Mary Balti­ is a play for "word freaks." Not every­ tographers and their subjects seem to more, Fannie Cranberry and Alexan­ one in the audience found the sound of share a cynicism or distrust of anything dra Cafuffle) setting out from Boston the word "dirigible" inherently funny, too "fancy or slick" that comes from and Terre Haute on a safari into Terra or liked consulting the vocabulary list growing up in a small town. And it is Incognita. In the course of the play, in her program. Not everyone took this foundation of basic values that they move through the Himalayas, a pleasure in the fact that the voices of unifies the St. Nazianz body of work. jeweled jungle, into 1955 and beyond. James Joyce, Dylan Thomas and John Mrs. Monica Wagner photo by J. Lindemann & ]. The project was funded by the Wiscon­ Berryman were spliced into the dia­ Shimon As they travel, the women discover logue of these Victorians, but it sin Arts Board, National Endowment stray fragments of the future in the seemed to me like classy channeling. ST. NAZIANZ for the Arts and the Victor and Isabel I've always been fascinated by the idea Miller Foundation. After its run at midst of their experience. Sometimes J. Shimon and J. Lindemann of voice vibrations remaining in the air Wright Street Gallery, the show will be these fragments are in the form of ob­ Wright Street Gallery at levels below audition, with the im­ exhibited at the Madison Art Center jects or physical evidence (a lump of 922 E. Wright St. age of, say, walking to school in Illinois May 27 through July 24, 1988. cream cheese found in a rucksack, an Now through January 24 through a wind made of invisible egg-beater recognized only as a talis­ J. Shimon and J. Lindemann are like words of Lincoln and Sandburg. Like­ Debra Brehmer man discovered underfoot), but more the English artists Gilbert and George wise some moments in the play are often the future comes in the form of or the Starn Twins in that their pho­ experienced as transparencies, when strange words appearing magically in tography is always a collaborative ef­ Oz and Kansas become simultaneous. their mouths. At first these words ar­ fort. They conceive, execute and edit Whatever this production's deficien­ rive spontaneously, but soon the ex­ as a unit. They even resemble each Human Resources Consultants cies, I found myself grateful that the plorers learn to tap the future through other in a strange way, both hearken­ Specializing in Personal Clavis company saw the merits of the acts of will or meditation termed "os- ing to a 1950's presence of horn And Professional Development work and gave Milwaukeeans this op­ mosing." The journey, then, is very rimmed glasses, vintage Polaroids portunity to experience it live. word-centered, even epistemological. slung over their necks and early Leave INNER RESOURCES INC. The characters use slang and jingles It To Beaver hair cuts. They are a cou­ 2132 N. 49th Street that have no meaning for them and Milwaukee, WL 53208 And even if many audience members ple of anachronisms, venturing beyond seek the equally mysterious owners of style to an actual embodiment of an­ Phone: (414) 871-8756 such names as Ike and Mr. Coffee. The missed some of Overmyer's inside jokes, the majority probably had a other place, time, era — observing the crucial and the trivial arrive undiffer­ 1980s from their shared mindset. entiated and indistinguishable, their fresh encounter with language. In the fascination dependent upon the lure of Clavis production, as well as in the oth­ their containers — the shining linguis­ er I had seen, "so long" became a dis­ For the last two years, Shimon and A tance; "happy hour" a spiritual pla­ Lindemann have been preoccupied tic vehicles in which they arrive. Upcoming Seminars: teau; "xeroxen" a new breed of cattle; with a little town of 700 called St. Na- March 11 - Stress Management and Relaxation zianz, located 90 miles north of Mil­ and "think tank" a receptacle each Training The words, then, may be experienced home should have filled on a monthly waukee in Manitowoc County, not far March 12 - Personal Empowerment as appetizers detached from issues of basis. When the play's emphasis is from where they grew up. What first March 19 - Contacting the Source Within content or connotation, or as artifacts placed on this imaginative process and attracted them was the town's history. inviting a combination of empirical its impact on the future rather than any St. Nazianz was founded 130 years analysis and a child-like sense of play. particular time (i.e. the campy trap­ ago as an experiment in Christian com- The language not only professes, but pings of 1955), it is, I think, rescued munalism by Father Ambrose Osch- shapes and determines the future. from the now 80's convention of space wald, a charismatic German priest Overmyer seems to suggest that the travel as a guise for nostalgia. The Cla­ known for prophecies, herbal healings Espanol power of words is as much due to their vis production did not quite escape this and exorcisms. Some of that commu­ form as to the history they contain. trap. Though Fannie and Alex find nal spirit still pervades the community, The emphasis then is on the symbols their lives in 1955 and give up their in that St. Nazianz remains a close and timelessness of the imaginative journey, Mary chooses to go into the knit, farming community, with the set­ Spanish is an easy process of representation rather than frontier toward our time and presum­ tlers' offspring still on hand to tell old language to learn and on the actual places and objects repre­ ably beyond. Her choice should be the stories. sented. heart of the play. When her character has lots of commercial is engaging, it occurs to the audience Shimon and Lindemann's resulting 25 that the future might actually be pleas­ In this play, words must be the tracks black and white images are predomi­ value. Let us teach you ant and interesting. The first time I saw or trail which the actors follow; they nantly portraits of the villagers. Their the play I felt a desire for and a belief become the motive for the action, the photographs are direct, full framed, how to speak Spanish. in the future which I have not known basis of the plot. But, though I cannot unedited, yet carefully controlled and since fifth grade social studies, reading explain why, the language in the Clavis revealing in a sometimes sad, precar­ about the projected moon landing in production was not handled in a way ious way. We see the villagers sur­ my Weekly Reader. which underscored this point. A com­ rounded by objects that distill an es­ edy as poetic as this one makes great sence or sentiment symbolic of their 5tar Language Center demands on actor and director alike. While the play's language is at times lives. Monica Wagner sits in a chair in Delivering dialogue that is sometimes pretentious and the gags a bit too hip what seems like her living room. Her sophisticated and sometimes slapstick and pop-culture oriented, its language face and upper torso are lit and the 2223 E. Capitol Dr. In Shorewood. wall behind her is bare except for a requires range and variety. In the Cla­ nevertheless generates a fresh ap­ Call 332-3901. vis production there were frequently proach to a serious and ominous sub­ cross looming over her right shoulder.

10 Art Muscle Previews

DAMN TANGO visual creativity that can challenge the really went bonkers on this one. If he "If the concept of intermedia means Theatre Tesseract perceptions of the finest artist. keeps at it, classical music might be­ utilizing different media, then it is the Lincoln Center for the Arts come, heaven forbid, fun — kind of center of my work. Using forms avail­ February 18 through March 12 Rod Cronkite has created a smooth, like Pee Wee's Playhouse meets the able to make one unified form — jux­ finely crafted wooden vase, a beauti­ McNeil/Lehrer Report. taposition of differing concepts, visual ful, carved vessel, which maintains a rhymes, counterpoint, multidimen- Theatre Tesseract's third show of their balance of craftsmanship and art, com­ sionality — and to be able to work in season brings us the American pre­ MEREDITH MONK position and style. The same is true of multiple realities constitutes the inter­ miere of Damn Tango, an adaptation 8 p.m. Friday, Jan. 29 James Gentry's Hall Desk, using a media for me. By placing one thing of Manuel (Kiss of the Spiderwoman) Oscar Mayer Theatre combination of wood and aluminum, against or with another makes each Puig's Argentinian novel, Heartbreak Madison Civic Center with lean contemporary lines, or Rob­ element become more mysterious and Tango. Damn Tango is described as a ert Flanery's chest of drawers, or Rich­ the whole more luminous. I believe in "stylized pageant of movement and The development over the past 20 ard Bronk's bird's eye rocker. Is it fur­ using whatever I need to say exactly, music" in which the ghost of a young years of performance art work — uti­ niture, or is it art, or a combination of and within a perceptual spectrum, my Don Juan type who has died in his lizing what a body can do as the medi­ both. The lines between craft and art immediate concerns. If it is more effec­ prime is resurrected through the remi­ um, and/or the perception thereof — are graying. Glass and neon, cast glass, tive in sound, then I use sound, and if I niscing of the women with whom he has produced much in the way of what plate glass. John Pritchard's porcelain, am working with scale, then I use film was intimate during his lifetime. a person might do, given half an audi­ wood and glass vessel — rich in its ... My axiom is that I use whatever I ence, to stretch the possibilities of roundness, strong in design. Steel, need as I need it." (LIVE — Perfor­ what a person might do, given half an Coming to Milwaukee in directorial metal and sterling silver. Welded iron. mance Art Magazine, issue #3). duties is Polish director Helena Dyner- Handwoven silk, with subtleties of col­ audience. It also has produced new man, who originally adapted Puig's or. Forms in fiber, handmade paper, kinds of boredom, new kinds of enter­ novel for the stage and who commis­ wood and raku. Rise Anderson's bas­ tainment, new sounds, new move­ For a more up-to-date statement, you sioned twenty-one tangos to be includ­ ket, Taken With the Air, captures ments, new humor, new conventions, might consider attending a lecture by ed in the piece. Ms. Dynerman also movement, breeze, forceful gales. new terms, new arguments and new Monk the night before her concert, directed the world premiere at War­ Clothing and canvas. Chad Hagen's fi­ versions of old things. Although the from 7:30 to 9 p.m. Thursday, Jan. 28. saw's Ateneum Theatre in 1986, ber piece, Rugs from Mars Series and idea of performance-based art has Call the Madison Civic Center (608) where it is still running. Marjorie M. Meyer's use of canvas, lin­ been around much longer, the past 20 2566-6550 for information on the lec­ en, mirrors and paint. The rough tex- years has produced a higher profile for ture and the performance. tural forms of Jim Weiman's this type of work, establishing it, de­ Also from Poland comes composer stoneware, Shields to the polished sur­ spite its amorphous nature, as an insti­ Mark Anderson Janusz Tylman to provide musical di­ face of Claire Pleiger's pewter and tution of a sort. While it is among the (Mark Anderson is a Milwaukee per­ rection to his original score. copper, Winged Forms. younger art forms, it already has its formance artist) own hierarchy of personalities, histori­ For an evening of earthy music, black cal figures, masters and rebels. humor, expressionistic ritual and The exhibition is an example of transi­ Brechtian flavors, try Damn Tango at tion, a redefining of how we perceive Meredith Monk has been making var­ Lincoln Center for the Arts, 820 E. craft. It is an opportunity to study fine ious kinds of art, including music, Knapp St. Performances are Thurs­ craftsmanship while also taking a walk movement (separately or together), days and Fridays at 8:00 p.m., Satur­ through the expressions of the soul. words, images, film, video, theater and days at 5:00 and 9:15 p.m. Tickets are probably more, for over 20 years. She $8 and $10. For reservations and info, Sheilagh Amundsen is very highly regarded and well-re­ call Theatre Tesseract at 273-PLAY. (Sheilagh Amundsen is a local basket- maker) spected for her explorations, persever­ ance, and the strength and beauty of Let's dance her work. She has been around as long the intimate entangoment .... MILWAUKEE as, or longer than, performance artists MUSIC ENSEMBLE Laurie Anderson, Spalding Gray and Eric Bogosian, but doesn't have the DYNAMIC The Big Gesture Composed by Jerome Kitzke pop appeal that makes these artists DIMENSIONS: and other selections by American better-known than she, despite her Craft in the New Age composers prolific and critically-acclaimed body Cudahy Gallery of Wisconsin Art 7:30 p.m. January 27 of work. Milwaukee Art Museum Vogel Hall, Performing Arts Center February 7 - March 6 Monk has presented her live work, Meredith Monk photo by Walter Kranl Jerome Kitzke, a composer originally ranging from solo vocals, sometimes There was a time when you knew you from Milwaukee and a former com- accompanying herself on piano, and were at a craft show. The most obvious poser-in-residence at Alverno College, movement work, to larger group signs were grass underfoot, mud from now lives in New York City, but con­ pieces and collaborations with other an early rain and tables spread across tinues to collaborate with his friends artists, in all of the best-known the­ an open field. The tables would be back home. In May, the Milwaukee aters, galleries and performance art filled with toys and furniture, small Music Ensemble performed his world venues around the world. Her film and cabinets and carved wooden animals. premier of In the Throat of River video work gets national airplay, and Possibly you would find a few baskets, Mornings. she has made ten recordings of her vo­ quilts or woven rag rugs and, of course, cal and instrumental compositions. pottery. Kitzke's back again with a new piece, Her press information also lists thir­ The Big Gesture, scored for oboe, bass teen major operas or musical theater DINAL clarinet, percussion and two dancers works, twelve film or video pieces and BAR AND DANCE CLUB Most of the items would be traditional — Cate Deicher and Lynn Gilliam. 38 musical compositions. She has in style, with set patterns of form and Kitzke said the initial idea for the score earned her chapter in the books, and MADISON'S utility, crafted with a skill and patience came from Allen Ginsburg's Song from she's not finished yet. passed down through generations. Howl. From there it has transmogrified CLASSIC into a seven section, 13-minute piece On January 29, Monk and her com­ DANCE pany, The House, will present Book of that deals loosely with relationships. BAR The Wisconsin Designers Crafts Coun­ Cate Deicher said she and Kitzke had Days — a music concert with film at cil, Inc. and the Cudahy Gallery pre­ been corresponding all summer and the Madison Civic Center. This concert sent Dynamic Dimensions: Crafts in sharing ideas for the project. This is the is the third event in the Center's Arts the New Age, in conjunction with the first time Kitzke has written music spe­ on the Edge series (which will also pre­ American Craft Museum's exhibition, cifically for dance. sent Mark Morris Dance Group on Sat­ Craft Today: Poetry of the Physical, at urday, March 5.). The program in­ 418 E. Wilson Street the Milwaukee Art Museum. The ex­ cludes solo selections by Monk, film Madison, Wl 53703 hibit at the Cudahy will consist of con­ Also on the agenda for this perfor­ from QUARRY (a 1976 group work), 608/251-0080 temporary crafts made by Wisconsin mance are five other selections by an exqerpt from ELLIS ISLAND (1981 artists. Gone is the grass, the rows of American composers. Kevin Stalheim, film), excerpts from BOOK OF DAYS tables, the mud. Enter into the white director of the Milwaukee Music En­ (1987 film) and HOUSTON SET (1986 interior of an art gallery. semble, said this might just be the music). OUR MUSE IS ART wackiest show he has ever put togeth­ 4&%fS Art Gallery er. Without giving away all the prat­ Monk was not available for an inter­ and The role and definition of craft, over falls, at least one piece, The Multi-Me­ view prior to publication, and an at­ ' \ ** Custom Framing recent years, has changed and evolved dia Performance of Souvenir, by tempt to verbally describe her work in ways that are not easily defined. No Donald Erb (with slides by Mark An­ would not do it justice, but the follow­ • Limited Edition Prints longer is the idea of craft limited to derson) involves music, ping pong ing quotation from a 1980 statement • Fine Art Posters tradition, to a use and function. Con­ balls, black lights, silly string, dancers she wrote in an article on intermedia • Reproductions and a weather balloon. Yep, Stalheim temporary crafts are expanding into a describes her approach to making art: Bay Shore Mall. 59CO N. Pt. Washington Rd. Milwaukee, Wl 53217 414/963-0717 11 Ear Muscle

By Bobby DuPah

New age music is everything I despise. rock to classical. While booking the The very sound of the words "new bands for the stage, it became obvious age" begs for suspicion. What was the nH$HMI to her that she not only loves the music zen adage? - To state that something is 5:8»!5«™::: " '*: m : ••mm ^Mmiki:m^^i^^^s^gs^^im!!i but has a need to expose others to it. true (here new) is to doubt its validity. Having interviewed every new age act

And what is this "age" stuff? Ice Age, «HBfififiBfiSHHBIHBffl«ilL that came to town, she had developed yes, Bronze Age uh huh, but new age? iiMIt '^itiifc personal ties with the musicians them­ This kid comes up to you on the street gfftfigli '"^"Ullill selves. She encouraged Vollenweider and you say "so, what kinda music do to add Milwaukee to his tour and then you play?" He takes a step back and P proceeded to sell out the Oriental The­ Jriir mumbles "new age" just before you atre for him. Girl can dance. Now all punch his lights out. Imagine a new age she needed was some pennies from lllili 'will! garage band ... Well wait, there may heaven. be a few of you who have been lucky lilt enough not to have heard this stuff or They came in the form of Doug & more likely, you just thought it was the Mary Goetz and Michael Richards & sound the wall paper was giving off in SSI:.' Co. The Goetzs met Mary between your office building. Well it wasn't. shows at Summerfest. "They were That "sound paper" was new age mu­ ill looking for something new to do with sic. Muzak in a brand new bottle. Illl their lives and I was just sharing a Break out your most cherubic smile dream," Bartlein recalls. Together and your glazed eyes - the Reverend with the Goetzs, Mary produced a suc­ Moon's got nothing on this stuff. cessful new age show in November featuring Scott Cossu at the PAC. With Don't bother consulting Funk & Wag- iliiliilllP*! financial backing from Michael Rich­ nail's, it hasn't been around long ards & the Goetzs', Friend of the Fam­ enough, and unless the collective need ily Productions was born. When the ijiftpiisSl^MiBiii^ for a surrogate downer is even more siplllp^^ K folks at the WAMI's acknowledged her widespread than I fear, it won't make as Milwaukee's New Age promoter, the next edition. It won't last because Mary Bartlein photo by Pat Allen Robinson Mary went shopping for Foster Grants. it's musical mush. Is it melodyless or Twas then that fate stepped in and are there too many layers of melody - snatched them Goetzs away quick as it I'm never sure. Good songs should de­ for WMSE radio, and winner of this and even really liked the show. It was had brought them. About a month ago, velop, climax, and end, like a well told year's Milwaukee Magazine "Best Of" too beautiful - but so is Monet. an "unrefusable" offer from the story. But you can start these songs award in that category. Every Satur­ Goetzs' employer coupled with a relo­ anywhere - just drop the needle and day from 6 to 9 p.m. for the past 5 The musicians were not only superb cation to the Chicago area left Mary, you have it. The high school play had years, Mary has taken us on a musical technicians, but they spoke clearly well, outta luck. greater dramatic subtlety. These are voyage into the dreamy, pastel colored during their solos. No notes were wast­ crescendos that bite, wit that highlights world of Andreas Vollenweider and ed. Just as moving was their seeming But the Unsinkable Mary charges on. the punch line in fluorescent green, the like. All forms of the dreaded new real happiness and the ease with which Somehow she'll pull it off. Whether I whim that wears a polka-dot hat. This age unfold before the unwary listener. they shared it with each other and the like it or not, new age music is a fact of is soap-opera musified. For a real emo­ Oh do not fear friends, I have not suc­ audience. Excuse the schmaltz, but the life and this girl's heart is in it. Remem­ tional sleigh ride through the kettle cumbed, though I have drunk from the thing was magic. The records still leave ber, no one forced her to play new age moraine, listen to Kitaro's "Light of cup, my hate is intact. me flat, but in case anyone out there music on her radio show and she cer­ the Spirit" on Geffen (comes on right hasn't already vowed never to attend a tainly wasn't paid anything for her new age concert, I give it a conditional after "All My Children"). And the Then why give this slimy, noodling choice. Though she admits she is the thumbs up. The second Vollenweider stuff's so finely played, you'll swear musical abomination a foothold? Cate­ antithesis of the cut-throat promoter concert I went to just didn't cut it. It it's being played by humans! gorization. Even more despicable than stereotype, she's full of conviction - may have been a case of my expecta­ new age music itself is our need to also untypical among her new peers. tions being too high, or the band being Miles (Davis) once said, "If I was black categorize. Believe it or not some new She's even got her next show in mind, at the end of a long tour, but the disap­ and I turned white, I'd commit sui­ age music is o.k. Under severe duress a cello/piano duo whose last album pointment was real. The point remains cide." Well if I was a rock musician and (Mary told me to go) I once attended was recorded in St. John's Cathedral - - new age is not all music for medita­ I turned new age I wouldn't be able to an Andreas Vollenweider concert. This completely improvised and each posi­ tion, at least not the live form. Which commit suicide - I wouldn't have the man comes closer to the corporeal re­ tioned in separate chapels. These guys brings us back to Ms. Bartlein. edge. (Actually, I'd be killed by my presentation of "angel" than any I have actually have my curiosity piqued. Ar­ friends before I got the chance to do encountered. With his bubbling locks rangements aren't finalized but she myself in.) Got the point yet? No? You and honey smile, this swiss (please Having managed the Folk Stage at hopes to do the show in mid-February. must be stupefied from listening to too stop) harpist (no kidding) should really Summerfest for the past four years, From there, (corporate sponsors are much new age music. play suspended over the audience, and Mary saw her wildest dreams come you listening?) she foresees one major probably will as soon as technology (to true this past summer as the stage as­ show a year and a half dozen smaller Ok, I guess I'm ready to get to the point say nothing of insurance companies) sumed a new identity - it was now the ones. of all this, but I had to get that out of allows. Judging from the albums I'd New Age/Folk Stage - and she was giv­ my system first. As reluctant as I am to heard, I expected to be either 1) sleep­ en the responsibility of booking it as So watch out. Mary's down but not admit it, new age music can be sal­ ing or 2) screaming obscenities or both well as managing it. Her involvement out. People like her make it hard to vaged if we will all entrust our musical of the above half-way through the first with the stage in its folk years should clip the wings of even the most insipid souls into the hands of Sister Mary "song". To my chagrin I not only re­ tip you off to the diversity of her musi­ angel -' and I was having so much Bartlein, new age d.j. extraordinaire mained awake but actually enjoyed cal tastes which run the gamut from fun. -«*<

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fttji Ml Hi By Tom Bamberger Richard Avedon Photograph by Francis Ford

n a 1978 review of his exhibition at the sloppy way of putting it. By the way, I'm re­ first question is how are you different from Metropolitan Museum in New York, Ja­ cording this along with you. your subjects? net Malcom called Richard Avedon the "biggest and richest and most celebrated fashion pho­ TB: Ok, let's begin with the obvious, your sig­ RA: I am the photographer. They are the peo­ tographer in our galaxy." Though we still do nature in photography, a style that has persist­ ple being photographed. I'm the artist and they not know if there is photography on other plan­ ed unaltered for a very long time. are the subjects. ets, we do know that Avedon's relative status hasn't changed too much in the past ten years. RA: Would you just tell me what you consider TB: OK, you're an artist and they're not. But, The magnitude and consistency of Avedon's my style to be? you choose these people which seem very un­ photographic production is staggering. His first like you and you have photographed your fa­ cover, for Harper's Bazaar, was in 1945. Since TB: Well, the white background. ther, who presumably you identify with. then he has published tens of thousands of pic­ tures, produced six books, and had numerous RA: Let's start with that, that's good enough. I RA: I identify with everyone I photograph. exhibitions. He has photographed the most read the existential philosophers as a young beautiful and the most important people in the man. I do not believe in religion of any kind, or TB: Given who these people are, are there any world. He photographed the civil rights move­ hope of any kind. I don't believe that our soul other distinctions you'd care to make? ment, the war in Vietnam, and the Anti-War goes anywhere after we're gone. I believe in Movement (including the Chicago 7). He has only what we are capable of being to one an­ RA: I think that we're more linked than we're done fashion and anti-fashion. Of all the pho­ other while we are here. The white background different. I think that I choose people who can tographers who have straddled the worlds of has always been essential to me in that it express — whose faces and whose quality ex­ art and commerce, he has no peers (only Irving doesn't comfort in any way. There is something press how I feel, and I feel very differently at Penn comes to mind). And throughout all of romantic about a face coming out of the dark. different times of my life. But they are all these venues, Avedon has set a distinctive stan­ There's something reassuring about a room, a linked through me. I am not a photo journalist. dard from which other portrait and fashion room reveals someone's choices, it implies safe­ Nor am I a fancy portraitist like Stiechen, by photographers have been forced to either self­ ty. I'm interested in the figures that I photo­ that I mean the addiction to ennoblement, sort consciously depart or emulate. graph, the people I photograph, in relation to a of artificial ennoblement of the subject. I void. So called Rembrandt-like lighting, has the choose and I always have, what I've felt stron­ Avedon has, in fact, reached a level of absorb- face emerging romantically out of the dark to­ gest about. How did you put it? You put it better tion in our culture that makes it difficult to ward the light. White is difficult, tougher. The than that. evaluate him in the present. We can no longer hard edge of anything photographed against discover him because he has been there from white is very difficult to bring feeling to — the TB: Perhaps. Why are your feelings so strong the beginning. He can't be made by the art caricatural potential is so great. It's very diffi­ for these particular subjects? press (or unmade, for that matter) because he cult to bring forward the emotional content made himself before the star system took over against white, if you fail you are left with a RA: I think you would do well, instead of asking the art world. Though one would suppose that passport photograph. But I've managed to in­ me to explain my work ... I've spent my life Avedon would eventually be either a victim of vent a great deal with it, everything from wom­ explaining my self through photographs. To ask his success or excess, he remains the most in­ en hysterically running in fashion photographs me to verbalize is like asking you as a writer to timidating and ubiquitous photographer of our to portraits of people of great accomplishment please take some pictures and explain what or his generation. ... the civil rights movement, men in Vietnam. your last essay was about. It's outrageous. If All unified, equalized, by that empty white you are interested in me and if you're really space — that void. Richard Avedon: Hello. interested in my work, why don't you go to the

TB: Hi Richard.

RA: I gather from an interview with you that you understand this question of checking quotes.

TB: Yes. Let's go over that. The way I do inter­ views is the following: I will record the inter­ view, have it transcribed, edit it and then will send it to you so you can see if there's anything in it you don't mean. I have no interest in mis­ quoting you.

RA: I always mean what I say, changes would only be to clarify. I'm an editor myself. So you can read it to me on the telephone if you're up against time. Given a little time, I can rewrite the few muddy sentences or a flat phrase. The spoken word is not the written word.

TB: That's fine. I'm only interested in what you mean. Richard Avedon, Gordon Stevenson, drifter, Interstate 90, Butte, Montana, RA: I never go back on what I intend. I just try 8/25/79, Copyright 1985 by Richard Avedon Inc. All rights reserved. to clarify, make it stronger and simpler. It frees me to talk. If I think that what I'm saying will be TB: So the white void in your pictures has a library and look at all the books and see how printed as spoken, I'll try to write as I go along kind of metaphorical relationship to your view the pictures are connected to one another and and you'll get a self conscious, clenched inter­ of the human condition? then you'll know who I am. If you're a good view. detective, you'll find out. RA: Yes, that's what I was trying to say but I'm TB: Let's get to your portrait theory. You've TB: The only problem for me would be if you afraid of phrases like the "human condition". said a portrait's a fiction, an opinion. You've said something that you meant and then want­ said a lot of things basically that undermine the ed to take it back. TB: It's a large concept ... Let's get to your veracity of a photograph. subjects. Obviously you've read that your RA: I don't do that. choice of subjects in this series has upset a lot of RA: Well I'm not interested in the veracity of a people. photograph. I'm interested in a larger truth. TB: Then we won't have a problem. RA: In this series? TB: That's what I'm getting at. In a way, I find RA: I won't change the meaning of what I say. I your position to be somewhat ironic. After all, always say what I mean, unless it comes out not TB: Yes. As a portrait photographer I am often your photographs are very specific — you in­ meaning what I meant because of grammar or a faced with the same charge. It's inevitable. My clude the names, the dates, the places.

15 RA: Sometimes. RA: Lately. It used to be the other way around. tures I did. That's about the end of it ... You want to do an interview. I want to stop this TB: Many times. And it's hard to believe that TB: Ok, lately. interview. I'm going to stop this interview. I'm you are not, in some sense, interested in the sorry. I don't want to do this again. I respect you physical relationship of the photographic pro­ RA: It might be because of my success as a too much because you're not a fool and it's cess to the subject. If you were intent on under­ commercial photographer. easier to handle fools. If I were going to go into mining that, you could do what Sherrie Levine the issues that you're raising, I would write or Barbara Kruger do with photography. I TB: Well, maybe that's one aspect of it. I was them myself and it would take me many guess I have some difficulty accepting that thinking of an article in Afterimage. months. But to sit here on a rainy day, with a your photographs are purely a fiction if for no sitting coming up downstairs, and try to open other reason that you go to such extraordinary RA: You can't even talk about an article like the myself up on the level that I know would be lengths to find real things to photograph. one in Afterimage or the one in Art in America good for you, is not something I'm capable of as if you're talking about a thinking mind or doing. I'd rather go on a disgusting television RA: You're asking one of the essential questions anyone who cares about, who looks at photo­ interview and say what it was like to photo­ about photography. I don't believe that there's graphs. They're interested in me. They're inter­ graph Natasha Kinski and get it over with fast. I anything objective in the world. There is no ested in their own reputation. Nitwit, mindless, do this because I feel a sense of responsibility to truth, no history, there is only the way in which junk. And holier than thou. It's of no interest to the museum (Madison Art Center) but it's final­ the story is told. A photographer can only work me. ly ... and this is the end of two years of touring with the surface. Those are the only clues he and two years of reviews, and two years of has, the only language. You work with the sur­ TB: But there is something about your work, interviews. Irh brain dry of all of these things face as precisely and honestly and truly as you your view of human nature. One of the things I and I think it's more correct for you to quote can to express what it is you want to say. You think you're suggesting, which is difficult to from people who have attacked me or praised can't get beneath the surface. There's nothing accept if you have certain political beliefs me. But frankly, I'm more interested in what beneath the surface but blood. So you have to which entail social change, is that the world is you think of the work. work with these clues, the many surfaces. You an inexorable place. People are not movable, know, a double breasted suit on the back of they absolutely seem to be determined by their TB: I can understand why you feel this way. Ambassador Bunker in Saigon or a man in an \ circumstances. And in the case of the West, it elevator who has a little card that says "My has a lot to do with their labor. RA: But I don't care. I don't take photographs name is Higgins, I'm with Amco HELLO." for you or for the press or for art magazines. Those say an enormous amount to me. RA: Well, that's your interpretation. To sup­ They have Sherrie Levine or whatever her pose, which I hate to do ... these people have name is. They have the appropriatists, you TB: Which is, of course, undeniably true but an enormous amount of courage. I think the know, they've got plenty. Iwork for myself and once a picture gets out into the world, when we American working class is stuck. I think we're maybe someday a young person might happen look at it we suppose, or at least there's an all stuck, wherever we are, with dreams of solu­ into a museum or open a book, someday, and illusion, that we are knowing something about tions and in the case of the American west, of my work will do for that person what some the person that goes beyond the surface. If a Anglo-saxon upward mobility. I want to tell paintings did and music and books did for me photograph isn't a fact, it's hard to imagine you something, I mean, I like you, Tom. I don't when I was young. The way they helped me to what might be. You actually promote the factu­ like this conversation. I don't want to talk about feel less alone and that's really what I'm inter­ al nature of photography to its limits until it my work anymore. It's been two years of bull­ ested in. And that happens. ironically bends in upon itself. shitting around issues that don't concern me. The answers are in the work. TB: I've often thought that art critics can tell RA: Yes. I think you're putting it better than I you more about themselves than the work. could. But never forget, that I choose my sub­ TB: Well ... jects from hundreds of thousands of subjects, all RA: Well, they're all out there.J've yet to learn those possibilities; and then I choose from may­ RA: No, I'm serious, I don't want to do it. I've something from anything written about me that be 50 portraits done in a month the one that done it. You've got a little bit of me. It's all a has helped me. I mean it's interesting some expresses what I want to say. I establish the bogus. You see, it's about what you would like times, and it's nice when it's nice, and there mood of the photograph by the way I behave an interview with me to be about. These are not were years of my life when I was hurt by being with the subject. It's one of the essential moral questions I ask myself. I know what kind of a attacked. I've long, long ago crossed that valley issues of photography if you're an intellectual. man I am. I know how I felt about my father and, for me, all that interests me is the next I'm not and I don't give a damn. I mean I have when I photographed him. I know how I feel photograph. no interest in a kind of Marxist, almost Stalinist about the people I photograph. categorization of what a photograph should be. (An edited transcript of our twenty minute tele­ I'm not a philosopher. The issue of whether I'm TB: I'm just doing my homework. phone conversation was sent to Avedon. Dur­ a good man, a bad man, an exploiter or not, ing subsequent conversations no substantive whether this is real, this happened, this didn't RA: You've done your homework. I understand changes were made in the text, though in cer­ happen, is not about art. that. But the questions, all of them ... they just tain instances language was changed to enrage me. I'm too old now and there's too strengthen or clarify the meaning of a sen­ A photograph is not a person. My father hang­ much of my work out there for me to be asked tence.) ing on the wall is a picture of that person, an to pin down what I meant. It's so insulting. I opinion. It's obviously about the precise person think it's better that you print this, what I'm In The American West: Photographs by Rich­ because it is a photograph but at the same time saying now, than if I continue to try to be a nice ard Avedon will be on view at the Madison Art it's hopefully using that person to say some­ guy and answer questions that don't interest Center February 20 through May 1.2£ thing about all of us. It's a confusing issue. me. My work is of no interest to me. It doesn't interest me any longer. I don't look backwards. TB: You mentioned Marxist, Stalinist. It's clear I only think in terms of where my work might to me from reading the literature that there's lead me next. And right now it's not leading me something about your photography that irri­ anywhere. I don't feel particularly good about tates leftist art critics. it and what you've got to look are the last pic­

Valeric* Gallery of Art & Antiques

-featuring- Local Artists' Work of mixed media and antiques

William Wegman, Man Ray With Sculpture, 1978. Located in Walkers Point The Up and Coming Hub for the Arts William Wegman and Antiques in Milwaukee 1200 S. 1st Street Lecture 8c Video Featuring Serbian Cuisine Milwaukee, WT 53204 Phone: 645-3177 7 p.m. Thursday, January 21 Open at 5:00pm Hours: Mon.-Sat. 10-5 Tuesday - Sunday Sponsored by the Cudahy Gallery and Wisconsin Painters & Sculptors Admission: $3.50 Saturday 12-5

Milwaukee Art Museum 2499 North Bartlett Avenue 750 North Lincoln Memorial Drive Milwaukee, Wisconsin 53202 414-271-9508 K X

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Anita Feldman January 22: experimental tap and new music. "Really Milwaukee" Exhibit, January 28-February 28: works by representational painters from the Milwaukee area.

Chamber Pfayers at Alverno featuring Soprano Martnle McDartlel, January 31.

IPAAW (Independent Performing Artist Alliance of Wisconsin) Concert, February 5-7.

Cate Deicher presents "Cross Country Dances: including a piece with Pianist Jerome Kltsky: February 26-28. Pendulum, March 18, jazz vibraphone and piano. FRIDAY Next Generation Theatre, JANUARY 29 LII^L^I'JEI1^! Ji I"isi^m*! M«dr*r* I* ilil* IW AM ~l?tu March 19-27. 8:00 PM The Arts at Alverno • 382-6044 Photography by Raymond Kwan Feme Caulker-Bronson

Feme Caulker-Bronson and the Ko-Thi Spirit

18 Art Muscle By Pat Hidson

How do we perceive a powerful woman? Be­ My father was the vice-principal of Fourah Bay fore I met Feme I had heard, through cultural college when I was little. Fourah Bay college is osmosis, that she was a little scary. Why? Be­ one of the oldest on the African continent, and cause this world is not very comfortable with, it turned out a lot of African scholars. He was a or accepting of, those who really know them­ philosophy professor and was fluent in quite a selves. Feme says: "How can I create some­ few languages; he spoke German, Latin and thing of meaning, if it's not gonna be real, if it's five traditional languages that somehow I never not coming from inside?" That "inside" that got. she gives recognition to is powerful, and wom­ en who comfortably wield power in the com­ He was representing the Sierra Leone govern­ munity can make the insecure or the competi­ ment in Israel, for a conference they had on tive feel threatened. But for those who are world health problems. On his flight back, the inspired by a focused and original artist her plane crashed off the coast of Senegal. All six­ achievements can only be an enrichment to the ty-three people on board were killed instantly, while she was still in Africa in the interval after community. and that really turned my whole life around my father died. because after that my mother decided to return In Africa it's very much the norm for the off­ Feme Caulker-Bronson started the Ko-Thi Af­ (to the United States). She got a job at Mar­ spring of professional people to be sent abroad rican dance company eighteen years ago. Since quette in this weird sounding town called Mil­ to school. You've heard of the Pirates of Pen­ then she has been its artistic and executive di­ waukee, so we came from Africa to Wisconsin zance? Well, I was right there where the caves rector, continually building a repertoire of where they have cows and chickens. I would are, where they used to bring the booze up works based upon, but not limited by, tradition­ have been a junior in high school, about six­ through the tunnels, right there on the moors, al African idioms. She has also developed a teen, seventeen. so that's where I was for three years. school of dance that is rigorous, technical and solid enough to warrant a place in the part of When we came here the housing was very seg­ I grew up where black people were the majority every dancer's training. regated — it still is — although it appears not to and I never thought anything about it. My be (as much) now. My mother had a job at grandfather had three wives and I come from PH: What's your background? Marquette; she was head of the catalogue de­ the line of the first wife. I have a cousin who is a partment. The people at Marquette put us up in Paramount chief, which is like a mayor; so I FCB: I was born in a little village in Sierra one of those little utility places on Lake Drive. grew up with black people being in leadership Leone, Africa. My mother is an Afro-American At that time there were hardly any black folks positions. I also never thought about women's and my father was an African. They met at the hanging out around that part of town. Then my lib because women in my background were al­ University of Chicago in the '40s and he swept mother bought a house near Custer high school ways in positions of leadership. My grandmoth­ her off her feet and took her to the dark conti­ so that's how I ended up at Custer for my senior er ran the whole village. The first wife picks the nent, which at that time is how everybody year. That was the first time I'd ever been in other two wives, and it was control and I knew thought of Africa and some still do. "Dark," I school with boys because prior to that I'd gone of that; so when I came to this country it blew think, refers more to the ignorance and misin­ to elementary school in Africa, and then I went my mind. All of a sudden I'm hearing Black formation about Africa, and how the world per­ to an all-girls boarding school in England for power and Woman power and all this stuff that ceives this massive land mass with so many three years — you know, with the beanie hats I took for granted growing up. So leadership different kinds of people. and the blazers. My mother sent me to England has never been a problem for me.

19 In England I learned what it was to feel odd This leads to what's happening with Ko-Thi. working. Ko-Thi has national recognition. It's because I wasn't in the majority, but I didn't How come this company doesn't have funding interesting how validation works. We did the know what it felt like to feel out of place be­ and a serious economic base? Where are all the thing with Ladysmith Black Mamboza at the cause somebody didn't think that I was a hu­ black supporters? That's the big question. I can­ PAC and people are asking about Ko-Thi man being and that's a whole different kind of not do another thing for this company without "Where are they from, who are they?" oddness. I understand how black people act the money. I've reached the point where we either way they do in this country. You can't help but get the money or we stay where we are or it PH: Now when you say recognition that is na­ be bitter, angry and disgusted if every time you dies. My people are fighting themselves be­ tionwide, do you mean among dance schools? turn around your beingness, your insideness, is cause to support the Ko-Thi dance company constantly being demised and I have exper­ means you stuck your neck out societally. FCB: Ko-Thi's name is on the lips of everybody ienced it now. There are a lot of black people who sit on the who knows anything about African dance and board of directors of the ballet, symphony, or music, from New York to California. That's what Ko-Thi's all about. I feel if black the conservatory of music and will not give a people could get an essence of who they are dime to Ko-Thi dance. Or I will really say this, PH: I think it's a national scandal that your through their own high classical art forms .... that in 18 years of Ko-Thi's existence, this com­ company isn't supported. It's like, you're white and you can go and pick pany has received less than $3,000 in donations up a Beethoven record or a Tchaikovsky rec­ from Milwaukee's blacks. Our company is sup­ FCB: I walk into the National Endowment for ord, whatever, and you can look at Greek ported by black people who don't have much the Arts headquarters and all I see are big post­ mythology and it's all around, your whole soci­ money, who send their kids to the school. ers of all of these white companies. And I walk ety is built around the European ethic, even That's what supports the company. in there and think, what the hell am I, chopped Christianity. And this is the way it's taught to liver? There's no African dance company in­ black people. So I'm saying that everything that Tom Strini (dance critic for the Milwaukee volved. People say why the hell should Ma Bell you are and that you were in terms of your Journal) keeps saying to me that part of the or ATT fund an African dance company, be­ ancestors is constantly reinforcing you. But for problerrris that people don't get a chance to see cause they say it's ethnic, it's cultural. But a black child coming up, what the hell rein­ the company perform enough, which I do be­ what's ballet? Ballet is a European folk dance forces his essence? lieve to be about 40 percent true, but the other form that has been codified and theatricalized. 60 percent is how in the hell am I supposed to It's like it's the norm. What gets me is I've run The only thing that reinforces him is that which become more visible if I don't have the money into so many people, black and white dancers, is not of him or from him, and we keep skirting to mount a show? People got off work last that when you ask them what is African dance, around this problem. You cannot just teach night, to go down and do that show (at the PAC the definitions they'll give you are words like math and sciences to a human being; you have with Ladysmith Black Mamboza), straight from ritual, exotic, and that's just a way of putting to teach essence to a human being. So we've got the Gas Company, the Bell company, so I can't African dance on a shelf. A lot of African dance people walking about like zombies. book more than two or three weeks at a time isn't ritual. out on the road, every other year,. Dumah Saafir, the musical director of the com­ That gets down to Ko-Thi dance company. So pany, and I are determined^that Ko-Thi Dance why is this company all black? Well, it's all It's not like "then leave Milwaukee and go Company will not fall under the category of a black because I feel that the first job is to pro­ somewhere else." The only black dance compa­ folk dance company, a religious organization. vide an institution in which I can dispel the nies that have their people on a salary in this Because it's not those things. We are theater. myths. I run into black dancers who actually country are companies that are integrated. To don't think that African dance has any tech­ me that is a political statement. Dance Theater PH: Let's talk about your creative process — nique, who think that African dance and music of Harlem is not integrated; however, the rea­ you have so much creative energy and incredi­ is just a happening. That's what they've been son it is accepted is that their artistic director ble productivity. taught and that's what they believe. They really was a lead dancer with New York City Ballet, don't appreciate this discipline and they're all Arthur Mitchell. Then he went out to prove that FCB: Isn't that funny. I don't spend a lot of time into ballet and studying everything else but. black people can do ballet. You look at Dance thinking about what I do. Theatre of Harlem and what do you see? All PH: But it's amazing, because people just have these little prima donnas, who can never go PH: That makes sense to me because I'm a to take one African dance class and they can dance in anybody's ballet company, because, as painter and I don't either. tell ... of yet, I have not seen a black Swan Lake. So he's training all these exquisite little black bal­ FCB: I'm very spontaneous; I work very well FCB: And they can tell that there's something lerinas and where do they dance — with him. under pressure. I'm getting ready to do a piece there. with DanceCircus, which is a completely differ­ PH: When you were in New York and your ent mode than thcsAfrican. It's going to be a company performed with different companies, PH: People are looking for cultural enrich­ modern piece. The stimulus for this piece is the was each company very much a product of ment, and the white culture is what is most (town) square and the monument (in the town their artistic director? available. square) that I experienced when we were in Taos, New Mexico. I was emotionally moved FCB: Everyone wants to be accepted. So if FCB: Some of the companies were team run by the concept of opposition. There were four you're a dancer, you want to be accepted as a and others were run by one. Usually there's a things. First of all, I was a tourist; secondly, dancer. Now, if that means denying yourself, definite stamp of the choreographer's work. there are all these very interesting little novelty and going over there and putting on a tutu with One of the things that makes Ko-Thi different shops, selling very expensive Indian jewelry. pink ballet shoes, and denying your culture — from the other companies I saw is that they On the outside of these shops, sitting on straw for some people that's the route they've got to have a tendency, which is fine, to try to dupli­ mats, are all these Indians who have faces that go. I would rather focus my energy on building cate the African form. I figure with Ballet Afri­ look just like the mountains — sculptured faces, and re-establishing the classical arts of the Afri­ can and other companies touring all over, why destitute, hungry looking, poor — and they're can continent. Who needs another opera singer, should we try to duplicate that, and I have peo­ just sitting there, with the same jewelry that's in who needs another classical dancer, when the ple in my company who have never been to the little stores, for half the price. They're sit­ African thing is hardly known and understood. Africa yet. So the arts to me have to be a reflec­ ting there with these blankets and big hats, and tion of the total person. The people in my com­ that's three. And four, is this monument which pany are doing traditional African dance and The bullet and the Bible were weapons that says it's a tribute to all of the soldiers who killed they're studying it, but let's face it, it is foreign were used to destroy a people's essence. The the savages in the area. And I just stood there to them. African was told that women can't dance bare- and couldn't move — in anger and rage. So, breasted because Christian women don't dance when Betty (Salamun, artistic director of that way. Well, to the African and the Hawai­ PH: Well, you're very true to your medium. DanceCircus) asked me to do this piece I decid­ ian, "bare-breasted" had no sexual overtones in ed that I had to channel that. So I don't know the first place. The whole concept of erotic was FCB: I'm trying to be. I'm trying to be very what the piece is going to turn out like, but that introduced to turn it into something that it's realistic. Everything we're doing is traditionally (experience in Taos) has everything to do with not. You can't do the dance rituals anymore based and authentic. it. because it's pagan. Ancestral worship got PH: We'd like to have the community under­ thrown out of the window. stand what your problems are. PH: I'd like to hear your opinions on different forms of dance. Africans have been taught that good music is FCB: When we toured out west, people just classical music. Many Africans are no longer assumed that all the people in the company are FCB: Well first of all in the modern idiom, what interested in their traditional music and their full time, as in the ballet. People were stunned you don't have to your advantage is the vo­ dance because they themselves are becoming when I explained that we do this on less than 10 cabulary of the African tradition. For instance, westernized. hours of rehearsal a week because everybody's there's a dance called lam bam and a rhythm

20 Art Muscle called lam bam and you learn the alphabet and drums an integral part of it right away? Also, I have absolutely no fear in getting up in the then create from within that framework, so I what about the women's drumming? face of a man five times my size and telling him automatically have a natural guide. It's not un­ what I think. like being a visual painter and deciding you FCB: That's an interesting question because want to do a still life, and then you have a what we've noticed is that for a lot of the men And so the women drumming .... The men in certain focus, because within that there are cer­ who do traditional African drumming in this the company helped us. They helped us rope tain guidelines. country it has a macho background, where the drums and they taught us the skills that we PH: But at the same time, it gives you some­ women don't drum. Well, the thing that made needed to know and we got extra help with the thing to work from that's endless. that impossible to buy is that I grew up in Africa patterns and the rest of it. The women — Rox- and I've seen women play drums so I knew that anne — I've always been lucky in Ko-Thi in that Where do you get your information? wasn't true. Then there's the women's initiation whenever I've needed something in this com­ societies where only women are present .... pany it has come ... ( outside of money ... FCB: I read all the time. My biggest thrill of Who plays the drums for them? Women do. But money just don't be comin' sometimes ... and traveling is to go to old bookstores and find old I also knew there were some societal reasons I positively wish on that and it just isn't happen­ books written on Africa, books that are some­ why black men in this country needed to find ing so the gods must be testing me or some­ times journals of famous explorers who are avenues to assert their maleness because the thing). I trust in the Ko-Thi spirit. usually writing kind of racist, but, some of their black man has had a hard time. descriptive passages are interesting enough to I'm very close to my ancestors. I believe in give me context. I do a lot of that kind of read­ PH: There have to be ways to revere masculin­ ancestor worship or, for lack of a better term, I ing. And I have an extensive music library. The ity in a positive way ... believe in ancestral placement in my life. This company has developed a music library of tra­ has been a recent development in the last four ditional African music that I haven't had a FCB: Without it being that you're a man be­ or five years. 1978 was a very powerful year for chance to begin to even study. cause you've got five women's notches on your me because I went through numerous personal, gun holder and because you can abuse and hang emotional changes in my life, and I had to find I studied classical piano for almost seven years out with four or five women at the same time. I an anchor. I didn't see one in the traditional and then I played the guitar — taught myself mean, that definition of manhood—we're talk­ religions of the world. I started reading and guitar — and my fantasy has always been to be ing caveman mentality; and I'm saying that, found a lot of verification of things I already a singer, which is fine because now I have a well, I guess that the black man has had to find knew and felt; so I thought if I already feel this chance to do that in the company. ways to define himself and one of those ave­ stuff there must be something inside of me that nues was in the traditional African drumming already knows it. PH: The Ko-Thi company has been operating and a lot of the black men who got into that got for eighteen years — you must have been very really macho and particularly in the ways they There is an interconnection with all those in my young when you started — and how did that related to women in companies. I mean, there family before me. Now I understand my con­ happen? are horror stories of what has happened to nection with my father who was a traditional women in dance companies. Not just in African drummer. FCB: I was in my early twenties. And, well, I dance companies, but the whole male macho was very finstated .... I started this company thing in terms of what you've heard of artistic PH: Some people who are tuned to that kind of as a selfish act; it was a matter of survival. directors running through the corps d'ballet. spiritual awareness do special rituals, things There was nothing here for me. I did not want That's young girls looking for father images, that theydoevery day to keep themselves cen­ to be a ballerina. I cannot stand commercial and being screwed by the directors and that old tered and open to those forces. dance. I love the theater. I love what the theater story. does and I just wasn't willing to trade that off. PH: Did Ko-Thi get a special class of men right FCB: I think that meditating is another form of away? prayer. PH: Did you start it with a few people that you saw around you? FCB: I was lucky in that the drummers in the PH: I was going to ask you if your work itself Ko-Thi dance company — maybe it's because doesn't do that. FCB: There were a lot of community service everybody knows that the artistic director of groups and churches that I was working with. I the Ko-Thi company is a female and every man FCB: That's what I've found. Sitting in a room used what was available to me. that comes into the company understands. and chanting is one level but the one that is They know that I'm not just any female and most productive for me is the one when I'm in PH: Did you know Dumah then? Were the they know that I know what I'm doing and that the studio and actually creating a piece of work.

21 Walk This Way

Walk This Way is a column of personal conservatism in America. 1987 insight into the phenomena of mass marked America's first anniversary as culture modernism. a debtor nation and potential hostage to foreign creditors. The Court's ideo­ logical shift to the right was temporar­ ily stalled until '88. Despite allegations of adultery and war tales, Pat Robert­ son gained momentum as a serious By Jerome Schultz presidential contender winning dele­ gate straw votes in Iowa and Virginia. Women and Children First In December, the Democratic Platform As the new year begins let's analyze Committee announced that to distill the past year and file it away. But, un­ potential campaign controversy ERA der what category would it go? Was and abortion rights would be removed any specific scenario magnified by me­ from the party plank. In Wisconsin at dia mania? What single frame or by­ the first meeting of the Wisconsin line could identify the year? Women's Council, chaired by Mary Kohler, women were advised to end 1987 was marked by the fraternal cha­ ••Hi the feminization of poverty by getting rades of inquisition scenarios in con­ a husband. gressional hearings and senate confir­ mation debates. Network newscasts Even Saturday morning children's were dominated with images of pillars television was not immune to the of the Church, Military, and Law being trend. "Pee Wee's Playhouse" re­ interrogated into submission of moral mained an anomaly in a morning pro­ and ethical transgression. Men re­ liferated with traditional images of mained good oF boys and women the submission to patriarchy — "Muppet Vicki from Small Wonder toys. While male commanded talking Babies," "Smurfs." New to the time heads flooded the mediascape no no­ period was "Small Wonder" which in­ ble images of independent women, un­ terestingly followed Pee Wee. In its like 1986 which gave us Cori Aquino, third season, (originally played oppo­ Christie McAuliff and "Aliens," were site "Webster") the series features generated. 1987, marked with a pre­ Vicki, a white adolescent robot, attired dominance of images of dependent finger during their phone call, and curity system with a lump in the throat in stepfordized, "Little House on the women as dutiful daughters of patriar­ emotionally bonded with a unicorn lullaby of his "two little girls" as po­ Prairie" drag. Built by her robotic en­ chy, will be known as "The Year of doll. "Fatal Attraction" and its daugh­ tential Islamic terrorists' victims. Jim gineer "father," Vicki is the ultimate Daddy's Girl." ter-control obsession thematically Bakker was toppled by the image of a "Daddy's Girl." Constructed as obedi­ closed the year counterpoised with the victimized daughter, Jessica Hahn. Ol­ ent servant, tireless worker, and do­ mestic problem solver, she embodies The close of the year witnessed the beginning which was consumed in the lie North was defended by the dutiful the ideal expression of "True Woman­ phenomenal success of the blockbuster concluding melodrama of "Baby M" daughter, Fawn Hall. Donna Rice, the hood." She even lives in a kitchen "Fatal Attraction." Generally inter­ secured in the custody of her Daddy's "sassy" jail-bait daughter forced Gary cabinet. While Pee Wee prances in his preted as a wrestling match (complete wallet. Hart to prematurely withdraw. playhouse relishing the joy of unre­ with final "wet t-shirt" scene) between Tammy Faye's make-up replaced Imel- strained imagination, Vicki's exis­ the mythic American family and the What a year it was! Fashion gave wom­ da's shoes as the masses' new opiate. tence, restricted to the nuclear family horror of aging 70's feminism, critique en the mini and men AMERICAN Joan Rivers was fired. Vanna spoke. home, is totally programmed and con­ of the film has ignored the blatant HERO jeans. BAYER was hustled by a trolled. codification of females as daughters graduation speaker whose commence­ Images of girls and disaster framed the possessed by patriarchy. Wife Beth ment speech was a proclamation for national focus. "Little CC" survived reveled in the complacent fusion of do­ the significance of her father. "Dynas­ the Detroit plane crash as a miraculous The faithful, innocent woman-child mesticity and motherhood as a '"sweet ty's" plot was wrapped up in the rapid phoenix. "Baby" Jessica recreated character of Vicki and the media fetish talker' Betty Crocker." She may have growth of the Carrington lovechild, RADIO DAYS scenes and held a nation for dependent women, was artistically shot the gun, but she still required Christina, and her subsequent heart captive with her contained "Midtown" expressed in the art hype of the decade male approval for her hair-do. Week­ transplant, abduction, and rescue. Fa­ innocence. National coverage of her — Wyeth's "Helga." Featured in a na­ end fling Alex, cloaked in the generic ther Blake was further blessed with the deliverance, styled like a worker's tional tour (hits Chicago this spring) codes of black and white, penetrated return of his jetsetting, UFO-abducted beer ad, projected the efficient success organized by the National Gallery and the narrative with the emotional na­ daughter, Fallon. All the girls were fi­ of disaster mobilization, while at the a Soviet tour organized by the U.S. ivete of a jaded "Orphan Annie" con­ nally home safe. same time Reagan, after six years, fi­ Information Agency, "Helga" was ele­ sumed in the "Golden Pond" pathos of nally uttered the word AIDS. Liza, the vated to the status of an American biological meltdown. These two The "Daddy's Girl" image of enter­ yuppie battered fatality, became a sac­ "Mona Lisa." Depicted in ethnic cos­ daughterhood receptors were merged tainment broadcast became the chief rificial martyr to the unchecked bu­ tume, seductive nude studies, and in the character of the actual daughter context for the news projection of reaucracy of public and private sur­ golden braids, marketed under the "Daddy's Girl" Ellen, who innocently women. "Stand by your man" Eliza­ veillance. "Have you seen me?" aura of a secretive mistress, "Helga" applied Mommy's make-up as war beth quit her job. Pat Schroeder's tears was the aesthetic model of "Daddy's paint, mimicked her chatter, enter­ gained more coverage than the (Gay) Images of independent women elapsed Girl." She was "sugar 'n spice 'n ev­ tained Daddy with card tricks, "March on Washington." Ollie North from the media screen reflecting the erything nice." Oh, by the way have wrapped fruit sticks around her little justified the illegal acceptance of a se­ growing escapist focus of romanticized you seen Helen? ^

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By Kelli Peduzzi dents aim beyond ambition to the art in something Brodsky himself said. It is ing detachment from his hardships, re­ of poetry. And third: To keep my own a statement which has many times veling in memory, but restraining him­ Literary Resolutions for the New Year eyes and heart open to the many un­ caused me to reexamine the collective self from sentimentality. He written poems around us. Right now I nature of literature as artifact, as hav­ acknowledges the forces that shaped "What nature requires is obtainable, know there's one waiting for me in ing natural laws of its own apart from his life, but does not bow to them. He and within easy reach. It's for the su­ Emil Gross' hardware store on Oak­ wordly constraints, or even those of subjects himself, instead to creative perfluous we sweat." land Ave. conventional language. forces — to making something entirely Seneca, 100 A.D. new of things past. Memory is a vehicle Pegi Taylor, Proprietor, Webster's in the journey toward Truth. His poet­ As if we bookish types didn't have Books: Reading is one of the few ac­ "The real biography of a writer," ry is a similar journey, but does not enough to think about, every year at tivities in my life for which I need and Brodsky said, "Is the peculiar twists of rely on anything more than sonic in­ this time some poor slob tracks us desire no resolutions. But if I need to his language, the development of his tegrity to arrive at its goal. down and asks the inevitable question: make one, it would be to keep my style, not his life; divorced from his What is your New Year's resolution? pants on until the new Jim Harrison work he is just an ordinary man. A Brodsky, as many Russian poets and Naturally, they expect miracles of cre­ book comes out. He's hot! He's hot! writer is more successful on paper than school children do, carries an encyclo­ ative self-improvement. Instead of The closest thing to Hemingway in the actual performance of living." pedia of poetry in his head — he can telling them, we're perfect as we are, contemporary literature. recite spontaneously and selectively we ponder out shortcomings and in­ Nowhere is this more true than in from hundreds of memorized poems. dulge ourselves in dreams of the im­ James Hazard, Poet: I want to keep on Brodsky's own life, where the attain­ Typically, he requires the same of his probable. But the local literati are no looking for the bluebird and listening ment of pure, musical language has of­ students — 1,000 lines per semester. slouches when it comes to — if you'll for his song so that Antler's griping ten been interrupted, indeed, threat­ (To my surprise, I not only survived pardon the expression — turning over doesn't get under my skin. ened by a society hostile toward this ordeal, but looked forward to set­ a new leaf. Ambition boils among us. something it was helplessly inadequate ting time aside twice each week to rock As for yours truly, I resolve a very Nancy Mack, Editor, Kalmbach Pub­ to understand or control. By necessity, back and forth like a metronome and simple thing: To Think Big, Go Nation­ lishing: Most of my time is spent sort­ Brodsky separated art from life. It was chant like a Hindu. It was a form of al and Get Famous. Easy. ing through bad manuscripts. I read as if he led two existences. meditation.) two paragraphs, attach a rejection slip The rest are bound for glory too. Wit­ and send. I resolve not just to get my As a young man in Leningrad, Brodsky The verse etched indelibly in my mind, ness: mail cleared up, but to reverse my nor­ first came to poetry through acquaint­ and which serves as Brodsky's credo, mal policy. I resolve to concentrate on ance with the great poets Anna Ahk- sums up the separate laws of language Kate Raab, City Librarian, Milwaukee the good manuscripts and let the bad matova Mandelstam and Marina Tsve- and our relationship to it. "Time that is Public Library: For the library, I re­ ones sit in a corner and rot. tayeva. Abandoning "education" at intolerant/Of the brave and innocen­ age 15, Brodsky taught himself foreign solve to make more people aware of Wolfgang Just, Proprietor, Just Books: t/And indifferent in a week/To a beau­ the hidden treasures of the library, the languages (even translating the likes of tiful physique/Worships language and I try not to make resolutions and sim­ John Donne and George Herbert into books in storage. They're here, they're ply go on. Do people make resolu­ forgives/Everyone by whom it lives." Russian), and wrote poetry on the sly, just not on the shelves. For myself, it's tions? (from In Memory of W.B. Yeats, by the same as it was last year — to read drifting from job to job. The Soviet W.H. Auden). Awarding the Nobel Middlemarch. state sentenced him to two years in Prize for Literature to Joseph Brodsky prison labor camp for "social parasit­ is not just a recognition of his genius Pauline Jascur, Coordinator, UWM ism," and expelled him from that for language, but affirms his mystical country in 1972. His soul thus recoiled College for Kids Creative Writing Pro­ relationship to language, as if he were from the notion that art had to have a gram: I resolve to set aside more time a vessel through which it flowed. to DO reading. I seem to have piles of books and magazines I never get to. The poet enables language, and by in­ At a reading at New York's Columbia ference, history, to continue. In these John Hickey, Editor and Publisher, University recently, Brodsky said he difficult times, where rationalization is Main Street Press: I'm going to read doesn't exactly consider it exile, as so easy, artistic complacency so preva­ Mnemonic Devices the whole Bible. I've got a book called there was something welcoming to lent and attention spans so short, we The Bible in One Year. You don't read come to, namely America. Neverthe­ would do well to remember this. Be­ it straight through, but in sections. Not You ought to have one poet, one saint, less, life has not been without suffer­ cause remembering is all if art is to the Good News Bible — not that junk. in your lives as a yardstick for the rest ing. He had to leave behind adored exist. Good poetry will not yield to the This is King James! of literature. parents whom he was prevented from pressure to be like anything else, and Joseph Brodsky, 1983. seeing before their deaths, and a son— memorization is an exercise in tran­ Judy Woodburn, Editor, Milwaukee now 20 — whom he hasn't seen since scending this pressure. It is what we Magazine: I resolve to return one li­ he was 5. Curiously, when most poets remember that gives us our voices, brary book without having to pay a When Joseph Brodsky said this about would mine this suffering to render what we know that gives us our words fine. Balzac has been sitting on my the patron saint of 20th century poet­ their art, Brodsky refrains from ex­ and what we want that gives us our art. pressing bitterness or pain. Only in his desk for a month. But I probably ry, Wystan Hugh Auden, we, his rapt essays, "Les Than One" (Farrar Straus shouldn't admit that in public. students, took it as gospel. Now the Poetry is about desire for the infinite. aphorism applies equally well to its Giroux, 1986), not his poetry, does he And in this Brodsky has touched earth, let personal feelings come to bear on Susan Firer, Poet and Teacher: My res­ speaker. but keeps his eyes and ears fixed reso­ his words. In fact, in my copy, he in­ olution is three-fold. First: To make lutely on the other world he is building scribed the title page: Less Than One truer, more surprising poems that push The awarding of the 1987 Nobel Prize with words. He is the yardstick by "or: Notes toward a further blurring of at the accepted boundaries of poetic for Literature to Joseph Brodsky could which we can all gauge the rest of lit­ distinctions between art and life, right legitimacy in terms of content, struc­ not be more served for the artist or erature. Mk and wrong, day and night, etc. etc. ture and language. Second: To teach more meaningful for art in general. etc." Even in these he maintains a mus­ poetry with such cleverness that stu­ Perhaps the reason can be summed up

February 12 - April 10, 1988

Opening Reception: 5:30 -8:00 p.m. Lecture: TODAY 6:15 p.m. Paul J. Smith, Organizer of the exhibition and Director Emeritus of the American Craft Museum, POETRY New York OF I HE The exhibition is sponsored by HI WMfM WM Philip Morris Companies Inc. and Miller Brewing Company 11 oi^rA Milwaukee Museum 750 North Lincoln Memorial Drive Milwaukee, Wisconsin 53202 414-271-9508

23 IN THE AMERICAN WEST PHOTOGRAPHS BY RICHARDAVEDON *m^ j^U m ^1r?w£_ \

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FEBRUARY 20-MAY 1, 1988 JOHN LITTLETON DORIS WHITE MADISON ART CENTER Pain,ings 211 STATE STREET KATHERINE VOGEL MADISON, WISCONSIN 53703 Glass Sculpture Tuesday - Thursday 11-5, Friday 11-9, Saturday 10-5, Sunday 1-5 FEBRUARY 19 TO MARCH 19,1988 The five year chronicle of a particular aspect of the American West: the men and women, often ignored and overlooked, who D/ERLIEN work at hard, uncelebrated jobs. A complete catalog of the exhibition available by mail: FINE ART LIMITED Hardcover, $40 Paperback, $22.50 790 North Jackson Street, Milwaukee, Wi 53202 Mon.-Sat. 10 am-5 pm (414) 224-1773/332-4482 The Newest Theater in Milwaukee is 34 Years Old.

Join us in opening the Milwaukee Repertory Theater's newest intimate stages—the Stiemke Theater and the Stackner Cabaret—during our 34th Season. It was a voyage of discovery STIEMKE THEATER THE PUPPETMASTER OF LODZ An adventure on the high seas by Gilles Segal April 30-May 15 HEATHEN VALLEY Previews: 4/28-4/29 by Romulus Linney February 27-March 20 STACKNER CABARET Previews: 2/25-2/26 MAGkMCEkT JUNEBUG JABBO JONES, II SHUE BIZ by and with John O'Neal A comedy revue based on March 23-April 3 Larry Shue material. March 5-Open-ended run LOOT by Joe Orton HOLY MOSES April 9-April 24 A musical cabaret featuring Previews: 4/7-4/8 Norman Moses. U.S. Exploring Expedition 1838 - 1842 Feb. 6-April 24 All stages located at 108 East Wells Street, Milwaukee, WI 53202 For Tickets and Information • Call MRT Box Office: (414) 224-9490 Open daily at 10 am • Sundays at Noon Milwaukee Public Museum Downtown, 8th 6k Wells Open daily 9-5, Thursdays 'til 9 278-2702 Local exhibition sponsored by Friends of the Museum, Inc.

24 Art Muscle !%nti-Tloridians, climatic "It used to be that 'Polar 'Bear club members chauvinists/ceiebrationists/apologists. would gather at the site and walk into the lake together, holding hands. 'But now there's no or­ POLAR Copiously defervescent. ganization to the event. 'People just come down to try it and see what it's like. Some are just interest­ Why do we do this? ed in publicity."

BEARS We do tfiis in response to the Sun 'Belt, to 'Beverly — Joey Sutter Mis, to Dallas and Jiouston and Miami. We Founder and past president respond this way because we are (still) the 'Rust 'lext by John C. 'Blum of Milwaukee 'Volar 'Bears 'Belt. , 'Photos by Jim 'Brozek January i, 13 71 0 Photos taken January i, iy86 and 1987) We do this because 'Ronald 'Reagan is from Why do we do this? Why do we do this the way California and jimmy Carter from (jeorgia. We we do it now, and not as before? do this because of power and money, or rather, the subsequent diminishment of both. We do this because oftfndy Warhol.

We do this because the 'Braves moved to Atlanta. "You must be crazy to do this!" Only a man, solo and without documentation, would actually be Jiere is an event that has been around since crazy. $. documentor's delight. 'The televison 1943, or 1929, by some accounts, or iy 12, by personality says to the camera crew, "CNowget a even other accounts. What accounts for its current shot of the waves. I want to do something with the interest? waves rolling in, and the waves of people (rolling in)." One year Tfick 'Bacon dipped nude, his testicles shriveled to the size of olive pits, and was arrest­ ed. One year ropes were needed to lower the swimmers into the water because of the ice built up on the shore. One year "'Bear 'Tower" mem­ bership cards were issued. One year a throng of motorcyclists were to ride by in bathing suits to protest mandatory helmet laws — sir showed up and three were arrested.

We do this because of the shams of the '60s and sunny lifestyles and mellowness and the easy life.

We do this because we know at least one Mil- waukeean turned San Franciscan.

25 am

We do not provide anything new, or important, or significant. We are not, except in a wry literal I sense, on the cutting edge. We are survivors; we celebrate survival. 7'.- '•'=•;•m: Jiere, old high school friends grill bratwurst. 'There, volleyball players in swimsuits. 'To your right, a man in an Jiawaiian shirt and 'Bermu­ da shorts drives plastic golf balls, lb your left, a woman in rabbit ears and pink bathrobe. [And three gentlemen with dinosaur inner tubes on their heads.

Sin autochthonous event, a manifestation of our regional unconscious and self-consciousness, as­ sembly in the midst of disassembly, control in de­ control. 1

I ain't goin' back in/I'm goin bach in.

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30 Art Muscle playing scales for eight hours. It was becoming says that a symphony orchestra will be around a real drag. My big interest in music had always for ever. It's not like overnight, that you switch been composition anyway and the classical gui­ them off. They're a big civic pride now and By Debra Brehmer tar was how I made my living, by teaching and there's monetary reasons to keep them around. playing a little bit. My bachelor's degree is in compositional theory. I haven't written a note DB: Why aren't orchestras more progressive, in a long, long time. I'm still interested in com­ and why isn't the ballet more progressive in position. I'd like to write some stuff — an or­ original work? chestra piece and a geographic piece utilizing TS: I think it has something to do with the the whole city. I don't know if it will ever hap­ burden of history. Up until 1829 when Men­ hether you like him, hate him, respect pen. delssohn revived Bach, the oldest music you Whim, resent him or write him off as a knew was your father's music. That's why minor annoyance, Tom Strini undoubtedly has DB: So, what happened to your PhD? Haydn didn't complain if his wife used his the most important critical voice in Milwaukee. TS: When I was working on my PhD at the scores to roll up and curl her hair. There was no He's cultivated that through five years of laying university in California in 1977-1979, I was a sense of music that lasts forever. Mendelssohn it on the line and not hedging in his analysis as very conservative composer in a very avant- came along and changed all that. music and dance critic for the Milwaukee Jour­ garde music department. Nobody liked my nal. One person recently called him "the single work. I lost my funding in the second year. I lost Now you have this edifice of history that is most destructive voice in the Milwaukee arts confidence in the kind of music I was writing, becoming more and more difficult as it grows. community." Some people might lose sleep which made sense, because really it was not Why in the world would you want to write a over knowing they have such vocal and impas­ very good. Now I can see that. So I wondered symphony, when Beethoven wrote nine that sioned detractors. Strini simply laughs and says, how am I going to live, what am I going to do? I are probably going to be a hell of a lot better "Oh, he's a turkey." was 29 then. After two years of a PhD program than yours? I just walked away from it and moved to Long In conversation, Strini is as unguarded and di­ Beach where Lee Ann, my wife, got her mas­ DB: Painters face the same problem of con­ rect about his opinions as he is on paper. Jazz is ter's degree. Then I moved up to Los Angeles fronting history, but they don't seem to he sti­ dead. New Age music: "about as exciting as and got a job as a night proofreader for Aero­ fled in this way. watching the Ice Age melt." Opera: "The aes­ space Documents. I applied for a job at Art TS: Think about appropriation. Isn't that de­ thetic needs a rest." The symphony: "full of too Week. I never got the job, but eight months spair? Isn't that saying, "Everything that can be many dead European composers." later they called and asked if I wanted to free­ painted has been painted"? Isn't that saying, lance, covering performance art in LA. So I did "What can we do now except do it over again So let's reverse the process and do a little dis­ that and also got a job with a computer maga­ and hope that context changes the way it's per­ section of Tom Strini. He comes from St. Louis. zine, but then I decided I could be a critic. As ceived"? Husband and father of two boys. Baseball fa­ soon as I decided I didn't want to be a musician, natic. He joined the Milwaukee Journal in I started having success. People were buying DB: So, why isn't there more support in Mil­ 1982, taking his first full time newspaper job. my work. I went back to St. Louis, where I'm waukee for smaller arts groups, such as The­ Previous to that he freelanced in St. Louis and from, and showed clips to the guy at the Globe. atre X, Tesseract, Ko-Thi, and others? in California. He was a copy editor at a comput­ He immediately started sending me out three TS: What cripples a group like Ko-Thi and even er magazine in California, a proofreader, a or four times a week. Then this job came along. Theatre X is the refusal of the movers and shak­ writing instructor at the University of Califor­ I sent some clips and got the job. I didn't know a ers of this town to make decisions. They don't nia-San Diego. His early schooling at Southern soul in Milwaukee. I had never been here be­ want to have any passion. They just want to Illinois University-Edwardsville was in music fore, had no connections. have this kind of nice civic decoration, and that theory and composition. He went on to earn a leads to a kind of artistic socialism. It's nice that master's of music, in classical guitar perfor­ DB: Who would be your inspiration now? Is UPAF wants to reach out to the second tier arts mance at Southern Illinois University-Carbon- there someone or something that has shown groups, as they call them. But they're afraid to dale. Then, with intentions of becoming a com­ you the way? say this group is better than this group, so ev­ poser and classical guitarist, he entered a TS: I attended a lecture by Harold Cohen, the erybody, good or bad, will get just a little bit doctorate program at the University of Califor­ painter, who presented the idea of art as a kind and everyone will remain alive but malnour­ nia in San Diego. of research into who you are and what the ished. I'm a real Darwinist about this kind of world is. That's the opposite of the idea of art as stuff. If a group dies, it dies. It's not the end of Part of what brought him into his present state expressing yourself. I've found that people who the world. was confronting difficult decisions about his are trying to express themselves mess up, al­ own art form. Strini had to decide, at one point, most all the time. People who are trying to DB: I think maybe because you've been that classical guitar wasn't the right vehicle for understand what the world is through their art through it yourself, where you had do say, "hey, his expression — that something wasn't work­ — even though some of it might be personal or I'm not going to make it as a classical guitarist. ing out. Being able to let go of one earnest instinctual — are more on the right track. Now I have to give this up," that maybe you're a discipline and take on another, perhaps gave that's very generalized but that's what I've little less sympathetic .... form to his present Darwinist philosophy — found. Criticism is a kind of research too, and TS: What's wrong with saying I want to do The survival of the fittest artists. No one owes I've built up a body of seven years of research. something else, or I have to do something else anyone anything. Now I'm starting to come to a few tentative with my life, this isn't working out? Too many conclusions. artists say, I am an artist, therefore society owes DB: Why did you become a critic? You studied me a living; if nobody wants to donate to me classical guitar and trained to become a musi­ DB: What are some of the other}' conclusions? and if nobody wants to buy my tickets to keep cian. What happened? Well, more specific than that, I came across me doing this thing that I want to do, then the Tom Strini: Well, I got to be 30. When I finished something you wrote that concluded that clas­ government should go out and wrest money my master's degree in classical guitar/perfor­ sical music, symphony music, does not play a from people through taxes and give it to me. mance I was 24 or 25, and I vowed that if I can't vital role anymore in our 20th century scene. That's incredibly arrogant. You have to make really play this thing by the time I'm 30, I'm TS: The symphony orchestra. Yes, that's prob­ people excited about your work. To just auto­ going to hang it up. So I got to be 30 and I was in ably true. I'm not the only one to have said that, matically assume that nobody's coming to your California studying with Celine Romero of the and probably, that attitude was more fashion­ concerts because they're just all barbarians out Romero family of guitar players, and I realized I able 10 years ago than it is now because the there ... That's silly. didn't like performing anymore, I didn't like symphony orchestras have made some effort to practicing and I wasn't going anywhere. So I make themselves useful again in the ongoing DB: How does the role of the critic fit into all called up Celine and said "Look Celine, I'm 30, history of music. A lot of them now have resi­ this? I'm going nowhere with this instrument, I think dent composers and things like that. But I'm TS: Criticism should make people go a little I'm gonna hang it up." There was a long pause just wondering, if you think of how the orches­ farther with the experience they just had. I got and he says, "Well, that makes sense to me," tra developed, it got bigger and bigger because a memo from someone at the paper recently and I've always been grateful to him for that. they wanted more volume, halls were getting that asked what criteria do you use. Who says Most teachers would say oh no, just keep going. bigger, the scale of everything was getting big­ you have to walk in with a clip board and check It was a big millstone coming off my neck. ger. Well now, you can have one guy or two off boxes? That memo was very discouraging to guys sitting at a keyboard and you can produce me, because everything I've been writing for DB: But how did you know you weren't going more sound than any 10 vast symphony orches­ the last five years has been saying throw those anywhere with it? Did you just feel you had tras and they can get just about as wide a spec­ clip boards and criteria away. reached your potential? trum of sound. I still love the orchestra and I TS: It has to do with understanding what some­ still want to write something for it, but we no You should be wondering instead of judging: thing really is and having that come into con­ longer have English viola concerts and for 150 What is it going to be tonight? What is it going flict with your illusions about what it is. I real­ years they were the hottest thing going in to mean? People think that if you're a critic or ized I didn't like sitting in a room by myself and northern Europe. Time marches on, and who have a PhD in music then you have the answer

31 and you really know. Well, the guy across the mad because I said it was bad direction. But pens. Those are very difficult circumstances. street might come to a different conclusion, but that was Neal and he just went nuts on the It's amazing when something good does hap­ that's the interesting part about it. People phone, and I didn't handle it that well. We both pen, like Tales of Hoffman, which was so great shouldn't be afraid of their own conclusions. screamed and yelled. Artists really do have a last year. They have a right to boo, if they want to. It's a right to get mad at a critic and they have a right damn free-for-all out there. It's a tag team to write nasty letters. DB: But is it possible to develop a local core of match and some people get thrown over the singers for an opera company? ropes and that's the way it goes. Otherwise, it's TS: For grand opera, it's probably prohibitively DB: Who are some of the people around here a tea party. I kind of like the brawling atmo­ expensive. I think they are in a real bind. If I who we should be watching, who really have sphere of the arts in this country. It's fascinat­ were in charge of that outfit I would not have a great potential? ing. It's rough and tumble. clue of how to begin. Nobody knows what to TS: Well, Diane Vanderhei. The most exciting do. You can go to the Metropolitan Opera in My approach to criticism is that I try to put development of the past year has been Diane. I New York and see total crap. All the opera everything up front, so you dont have to read mean, she was just sort of a nice dancer, but in commentators are saying what's going on here. between the lines. I dont like the kind of writing the last year, I don't know what has happened Why can't anybody do good opera? I think the where you have to translate: " Pretty good" to her but she's just blossomed. She is tremen­ aesthetic needs a rest. There's something struc­ really means it stunk, "fantastic" means okay, dously exciting. I never want to miss anything turally wrong with opera right now. There's a and so on. I like to put everything out there so she does. Mark Anderson, I think, is a fascinat­ worldwide sickness with late romantic grand nobody has to guess at what I mean. I try to give ing artist. He always surprises me. The Milwau­ opera. the reader a chance to understand whv I felt the kee Symphony is playing great under Macal. Skylight Opera has a consistently good product way I did about a piece. I don't expect anyone to DB: You came down pretty hard on the sym­ ... a lot of out-of-the-way operas that no one agree with me all the time, but I hope that what phony video screen that Phillip Morris brought else does. They do a great job with Mozart I have to say will prompt them to think about in. there. Boy, somebody's going to get mad at me why they reacted as they did. That's what criti­ TS: Come on, they're showing pictures of the because I'm going to leave them out of this. cism is for, with a very few exceptions. Every Grand Canyon and scenic sky lines. Who needs Theatre X I like a lot too and Loewen's com­ now and then some piece just needs a stake it. It teaches people not to listen. through its heart, but that's very, very rare. pany Wild Space. Cate Deicher and Lynn Gil­ liam are good, too. They're getting stronger as DB: New Age music. Care to comment? they're getting older. DB: A lot of people feel you hold personal TS: You know what it's like. It's "don't-listen- grudges. to-it music," but it's pretentious. Muzak is bet­ TS: That's just not true. I'm sure it's what Pease DB: Do you have a certain ambition? What are ter than that because it's not claiming to be this and Bauer think. Nothing would please me you aspiring to? umbilical cord to the core of the cosmos. more than to walk into a^Bauer concert and say, TS: Yes, I have ambition as a critic. If the LA "Wow, it was fantastic." Nothing would please Times called me tomorrow, I'd be gone the next DB: What about statements like "Steve Nelson me more. I don't like to beat up on people. But day. But nobody's calling me. I've had some Raney noodled on wooden flutes, etc. etc." what am I supposed to do, pretend and say offers, but none of them would have been a Then you say "Boring," and in all caps,"BOR­ something was okay when I know it isn't? better job than this. I love the Journal and Mil­ ING." Is that a mature, constructive criticism waukee, but I'm not married to this place. and a well-developed thought or are you just DB: I remember, when you first came to Mil­ being bratty? waukee, there was some big controversy. You DB: Do you think a critic has a limited life TS: Well it depends. Sometimes people need to lambasted someone everyone loved and there anyway in one city — that you lose your edge hear a naked reaction. I'm sure I'm not the only was a real outcry. What was that? after a while and get a little too comfortable? person who reacted that way. I don't think I'm TS: Wayne Newton maybe. It might have been TS: I don't know. I don't have any feeling for it some sort of freak out there. [the rock group] Alabama, too. I feel bad about right now. My life has made so many radical that Alabama review, actually. They're medio­ changes that I don't feel like this is it. I've been DB: It's not an issue of whether other people cre and I called for an air strike. It was overkill. thinking about what a good baseball announcer reacted that way, it's whether in your role as a I should have just said these guys are mediocre I'd be. I'm serious. I'd be great. I understand the critic you should be a little more restrained or and so what. Wayne Newton, though, really game. I'd be perfect at it. So who knows, maybe constructive instead of simply saying it stinks. appalled me. He was kind of sleazy and sexist five years from now I'll be the voice of the TS: If I had said it was boring without describ­ and ugly and made ugly jokes. But the worst Kansas City Royals. I'm only about 20 years ing the piece in a certain amount of detail, then thing was that he had timpani in his band. So it behind there. But I don't know. I like writing that wouldn't have been fair. But you have to was like "Daddy don't you walk to fast" ... and I'm getting more interested in composing realize, you're not just writing for the artist, boom, da boom, boom boom on the timpani. music again, so maybe I'll go that way. Or may­ you're writing for the reader. Once you start The whole thing was just so grotesquely out of be I'll stay here. I'm smart enough to know thinking of reviews as a little message to the proportion — these sloppy little sentiments and there's no plan you can have in your life. My life artist, you're in bad trouble. You're legitimizing these huge musical blusterings. It really turned has been oriented to happenstance. people's reactions to things and making them my stomach. Of course, people who go to comfortable with their reactions. Of course you Wayne Newton probably have no context with DB: How does the Journal view your job? Are want them to go a little further to make them which to relate to what criticism is for. So they they supportive of criticism or is it something think about why they reacted that way too. all went crazy and started writing. they squeeze into the back pages? Do they limit the way you write? Do they edit heavily? DB: Here's another good one in your clips, DB: Was that one of the most controversial TS: Because this is the only paper I've worked "Have you ever wanted to stand up in the things you've done? at full time, I don't have a standard of compari­ middle of a dance concert and yell stop it. Stop TS: Yeah, that and Alabama. In fact the weir­ son. I have been impressed and grateful for the it right now?" dest thing happened. The next year, Wayne independence they give me. I've never gotten a TS: Well, I don't do that kind of stuff too often, Newton came to town again. This is one of the memo saying don't say this anymore. Never but sometimes the reaction is so strong that you sickest things I can imagine. Newton pulled out once. Sometimes my boss, Dominique Noth, have to go with it. my review from the year before and read from will call me in and say, look at what you're parts of it and said, "What do you think about doing here. But, you need that. You pan get so DB: You seem to share your pain. this guy?" To me that's really sick obsession. absorbed in the maze of writing that you don't TS: It's just being honest about stuff. I'm not Why in the world should he care what some know what you have. Dominique has saved my going to pretend. That's the beautiful thing schmo from Milwaukee has to say? butt a few times. And besides, I think they're a about writing, it's a special way of thinking lot more worried about Joel McNally than any­ about things. You can probe yourself as well as DB: Is it difficult to have people hate you? thing I say. He can get them in real trouble. what happened that night. I think that's one of Neal Brenard of Clavis, for example, says he'll the things that keeps me doing this job. It keeps never let you in another play he does. He'll DB: Looking through your clips, I see you're me honest. There's a certain way of thinking kick you out of the theater. usually pretty hard on the Florentine. Tell me that writing engenders that is very valuable to TS:(laughter) Yeah, him and what army? about that? me as a person. TS: Well, that's opera. The Florentine isn't the DB: Would you have the guts to walk into a only one with problems. Opera can be great and DB: Do you consider yourself a flamboyant Clavis performance at this point? there's a long tradition of it in Milwaukee, from critic as far as the average critical voice goes? TS: Sure I would. I don't do any theater any the Italian community. But they're going about TS: No. Milwaukee is so used to subdued writ­ more though. What happened with Neal is I it in a way that almost guarantees mediocrity. ers that I look that way, but by some kind of really did give a scathing review of Modigliani. The Florentine Opera Company is not an opera national comparison, I'm Mr. nice guy. Criti­ It was a horrible play. And then I thought he did company, it's a booking agency. They book the cism is very hard to write. It's hard to find a pretty bad job directing the Sam Shepherd biggest names they can possibly find from all somebody who can do it in an interesting way. play. But it's such a beautiful play, nonetheless, over the world and put them on a stage, rent I'm hardly an expert, but I know how to write. I that it came out. So I think he was especially some scenery and hope something good hap­ keep my eyes and ears open. **•.

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34 Art Muscle Calendar Now-Feb 3 Jan 15-31 Jan 31-March 4 Patrick Grace Historic Milwaukee Buildings: Transparent Manifestations: Studies in Wa­ Mike Brylski The Architecture of Henry C Koch tercolor Arts Organizations: Recent paintings; Metropolitan Gallery, Opening reception Jan 15, 7:30-?; The Fir- Group exhibition of UWM art students Please add Art Muscle to 2572 N Bremen; 372-2100 estation Gallery, 5174 N Hopkins; 462- studying in watercolor; opening reception 5509 Jan 31, 4-7pm; UWM: Kenwood Inn; 229- your mailing lists. Now-Feb 5 6310 P.O. Box 93210 Sarah Aslakson Jan 15-Feb 6 Milw, Wl 53203 Recent watercolors; Katie Gingrass Gal­ The Polaroid Show Jan 31-April 24 lery, 714 N Milwaukee; 289-0855 Curated by famous Milwaukee poloroid art­ David Phelps Attn: Therese ist Frankie Dellboo; opening'reception Jan Figurative Sculpture Deadline for calendar list­ Now-Feb 14 15, 8-11pm; Leo Feldman Galleries, Inc, Larger-than life-size figurative sculptures ings for next issue is Feb Contrasts 773A N Jefferson (alley entrance); open with crackled surfaces by this Oklahoma Douglas Busch Sundays & by appointment; 289-0308 artist, which create the strange illusion of 20, 1988 Super-large format photographs of the being embedded in the floor; John Michael Northern Illinois communities of Rockford, Jan 15-Feb 14 Kohler Arts Center, 608 New York, Sheboy­ Freeport & Belvedere; Rockford Art Muse­ New works in clay, rubber & plastic by gan; 1/458-6144 ART EXHIBITIONS um, 711 N Main, Rockford; 815/965-3131 Whitewater's finest — John Abandon & Wendell Jones; beginning Jan 1, introduc­ Feb 1-29 Now-Jan 18 Now-Feb 14 ing a new neon artist to the gallery: Mark Francis Ford Artist Chairs Visual Paradox Whitman; new custom designs & neon Photography; recent works; PAC: Magin An exhibition of chairs decorated by Wis­ Truth & Fiction in the Photographic Image sculptures; Elements of Art & Design, 300 Galllery consin artists; Walkers Point Center for the Contemporary artist/photographers create W Juneau; 278-0294 Arts, 438 W National; 672-2787 a sense of paradox through the staging of February illusions, the reordering of found photo­ Jan 17-Feb 7 Wisconsin Gallery Artists Now-Jan 24 graphic imagery, & the interplay of photo­ Senior Art Exhibit Opening reception TBA; David Barnett Gal­ St Nazianz graphs with written text; John Michael Koh­ Opening reception Jan 24 2-4pm; Mount lery, 1024 E State; 271-5058 J Shimon & J Lindeman ler Arts Center, 608 New York, Sheboygan; Mary College: Marian Art Studio, 2900 N Photography; Wright Street Gallery, 922 E 1/458-6144 Menomonee River Pkwy; 258-4810 Feb 3-28 Wright; 265-7213 Wisconsin Women in the Arts Now-Feb 28 Jan 17-Feb 21 Juried exhibition featuring over 65 Wiscon­ Now-Jan 24 Discreet Power: Prints by 20th Century Master Artists sin women artists in a variety of media; Batter Up: Celebration of the Birthday Cake Reductive Issues in Contemporary Paint­ Opening reception Jan 19, 7-9pm; UW- Upper Gallery; & Exhibition of edible & inedible birthday ing Green Bay: Lawton Gallery, 2420 Nicolet West Bend Public School Art Exhibition cakes by local & national artists to cele­ Work of 12 contemporary abstract painters Dr, Green Bay Lower Gallery; West Bend Gallery of Fine brate the 20th anniversary of the Center; who work reductively; Rockford Art Muse­ Arts, 300 S 6th; 334-9638 John Michael Kohler Arts Center, 608 New um, 711 N Main, Rockford; 815/965-3131 Jan19-Feb14 York, Sheboygan; 1/458-6144 Student Art Exhibition Feb 4-27 Now-Feb 28 Works by 35 undergraduate students in the ENTER ART! An ARTREACH Exhibit Now-Jan 24 Anu Uustalu UWM Art Department; opening reception Gail Shaw-Clemons Currents 12: Simulations 6 works of art; River Bank Plaza: Room Jan 24,1-4pm; UWM: Fine Arts Galleries; Opening reception Feb 4, 5-7pm; Presta­ New American Conceptualism 636, 740 N Plankinton 229-6509 tion Gallery, 5174 N Hopkins; info 271- Includes works by Jeff Koons, Annette Le- 4704 mieux, Sherrie Levine, Allan McCollum & Now-Feb 28 Jan 21-March 13 Haim Steinbach; MAM: South Entrance The Spanish Forger Selected Acquisitions 1895-1987 Feb 5-27 Gallery; 271-9508 Panel paintings & manuscript pages after A survey of paintings, prints, sculpture & Wisconsin Black Artists 15th & 16th century works, created by an decorative art from the 16th century to the Opening reception Feb 5 5-9pm; Camber Now-Jan 30 anonymous artist of the late 19th & early present that have recently enriched the Mu­ Arts Gallery, 833 E Center; 372-3322 Celebrating the Figure 20th century; Patrick & Beatrice Haggerty seum's collection through donor's gifts, in­ Brett Angell Museum of Art, 13th & Clybourn; 224-1669 cluding works of Calder, Durer, Picasso, Feb 6-March 3 Paintings & drawings; UWM: Kenwood Inn; Fragonard, & Piranesi; Patrick & Beatrice Peder Hedman 229-6310 Now-Feb 29 Haggerty Museum of Art, 13th & Clybourn; Makoe Seawright Barry Glasford 224-1669 Opening reception Feb 6, 7-10pm; Metro­ Now-Jan 31 Photography; Bay View Malt Shop, 437 E politan Gallery, 2572 N Bremen; 372-2100 Randall Feig Lincoln Ave; 744-4211 Jan 28-Feb 28 Watercolor & oil landscape paintings; PAC: Really Milwaukee Magin Gallery Now-March 27 A survey of representational painting in the Currents 13: Francesco Clemente, The Milwaukee area; Alverno College: Fine Now-Jan 31 Graphic Work Arts Gallery, 3401 S 39th; 382-6166 yjsP 833 E. Center "V*>A Enter Art 25 major etchings, woodcuts, lithographs & £ Milw„Wi.53212 ARTREACH monotypes, derived from a variety of Jan 29-Feb 20 O' 372-3322 \ Juried; work of Gail Shaw-Clemons, Nancy sources, including alchemy & mythology; Gary John Gresl Jaekels & Linda Olbenberg; work will tour MAM: Teweles Gallery; 271-9508 The Split Brain Series beginning in Feb; 411 Building, 411 E Wis­ Opening reception Jan 29, 6-9pm; Tera consin; info 271-4704 Now-Spring 1988 Rouge Designer Galleria, 225 E St Paul, Presents On Wisconsin! Suite 404; 291-0202 Now-Jan 31 Mixed media survey of the latest work done The Best of Last Year by a number of Wisconsin artists; MAM: Jan 31-Feb 25 Multi-media; juried; Camber Arts Gallery, Cudahy Gallery of Wisconsin Art; 271- Carol Rowan, Polly Ewens, Lenore Rinder THE BEST OF LAST YEAR 833 E Center; 372-3322 9508 & Robert Piper A Juried Exhibition Pastels, paintings & ceramics; opening re­ Jan. 8 thru Jan.31 Now-Jan 31 Now-May31,1988 ception Jan 31, 2-5pm; Bradley Galleries, Joanne Johnson Permanent Collection 2639 N Downer; 332-9500 OPENING Paper Sculpture Selected works from the UWM Art Muse­ RECEPTION Sundays, noon-2pm;First Unitarian um's permanent collection ranging from the Jan 31-Feb 28 Jan. 8 th Church, 1009 E Ogden; 273-5257 beginning of Western Art through 20th cen­ Wisconsin Regional Scholastic Art Awards 5 to 9 tury in all media; UWM: Vogel Hall; 229- 61st National High School Art Exhibition Now-Jan 31 5070 350 mixed media works by junior & senior HOURS: Modern & Contemporary American & Mas­ high school students from throughout Wis­ Tues. thru Fri 2 to 6 ter Prints consin; MAM: South Entrance Gallery; Saturday Noon to 6 David Barnett gallery, 1024 E State at Pros­ 271-9508 Bv Appointment £ pect; 271-5058

Now-Feb 19 "FRENCH WITHOUT TEARS' Selected works of contemporary & folk art­ EXPERIENCE THE ATLANTEAN ENERGY TABLE ists; Dean Jensen Gallery, 217 N Broad­ (or any other language) way; 278-7100 30 X 80 INCHES POWERED BY CRYSTALS • FROM NATIVE INSTRUCTORS Now-Jan 31 •ON A 1 TO 1 BASIS Rookwood Pottery and the Arts & Crafts •INEXPENSIVELY Movement, 1880-1915 40 examples of Rookwood pattery; MAM: Photography FLAGG LANGUAGE SCHOOL Gallery; 271-9508 759 N. Milwaukee Street 278-8322 Now-Jan 31 A wooden spinning top c. 1843 will be on "Our 25th Year!" display; Top Spinning Museum at Teacher Place & Parent Resources, 380 N Pine, Burlington; continuing display of over 600 tops; info 1/763-3846

Now-Jan 31 Vessels, Form & Function FOR RENT Featuring 7 of Wisconsin's outstanding 3- AVAILABLE FOR PURCHASE EAST SIDE OFFICE/STUDIO 2300 Square Feet Second Floor dimensional artists; Upper Gallery; & OR BY APPOINTMENT Ken Backhaus, Rosalie Beck, Allison Beck- 4 Minutes from Downtown & UWM with Cooke & Dan Gerhartz CRYSTAL HAVEN CALL FOR A FREE DEMONSTRATION BRIGHT SPACIOUS Oil paintings & pastels; Lower Gallery; W150 N6898 COUNTRY LANE WALTER A. SASSE $1,100 Per Month INCLUDES HEAT!! West Bend Gallery Of Fine Arts, 300 S 6th, Call 276-9995 AVAILABLE NOW!! West Bend; 334-9638 MENOMONEE FALLS, Wl 53051 (414)251-3457 35 Feb 6-April 24 Feb 19-March 19 March 10-May 22 March 11 Magnificent Voyagers: John Littleton & Katherine Vogel George Rouault: Misere Betty Salamun & the Dancecircus The US Exploring Expedition of 1838-1842 Sculpture - Recent Works - Medium: Glass 58 prints in aquatint, dry point & etching Concert features the premiere of Becom­ 400 objects & artifacts from the 1 st federal­ Internationally recognized glass artists; from the permanent collection; Patrick & ing, a duet dance developed in collabora­ ly sponsored expedition to circumnavigate also Beatrice Haggerty Museum of Art, 13th & tion with poet Joe Cardillo, & repertoire the globe entirely by sail; Milwaukee Public Doris White Clybourn; 224-1669 works by Betty Salamun, Cate Deicher, & Museum, 800 W Wells; 278-2713 Paintings & Original Prints Feme Caulker-Bronson; 8pm; $7; John Mi­ opening reception coincides with Gallery March 11-April 1 chael Kohler Arts Center, 608 New York, Feb 7-28 Night, Feb 19, 6:15-9:30pm; D/Erlein Fine Dutch Masters Show Sheboygan; 1/458-6144 Barbara Povlich Art Ltd., 790 N Jackson; 224-1773 Featuring Edie Adams Acrylic tables & neon sculpture; opening Opening reception March 11, 8-11 pm; Leo reception Feb 7, noon-2pm; First Unitarian Feb 19-March 26 Feldman Galleries, Inc, 773A N Jefferson EVENTS Church, 1009 E Ogden; 273-5257 Seeing in the Dark (alley entrance); open Sundays & by ap­ Reg Kev G, Drawings pointment; 289-0308 Jan 17 Martin Luther King: Sieze the Vision Feb 7-March 13 John Broenen, Paintings 5th Annual King Birthday Celebration Choices: 20 Painters from the Midwest Opening reception Feb 19 6-9pm in con­ Sr Thea Bowman will narrate a musical his­ An exhibition of paintings by 20 artists who junction with Gallery Night; Dean Jensen DANCE tory of the southern civil rights movement were recipients of the 1986 Arts Midwest- Gallery, 217 N Broadway; 278-7100 with a citywide choir formed especially for /National Endowment for the Arts Regional Jan 22 this occasion; also featured will be perfor­ Painting Fellowships, including the work of Feb 25-June 5 Anita Feldman mances by Ko-Thi Dance Company, the Wisconsin painter Tom Uttech; also Focus: Small Scale Sculpture from the Per­ Experimental tap & new music; 8pm; $6- Native American Drummers, and a civil Karen Kunc: Woodcuts; & manent Collection $9; Alverno College: Pitman Theatre, 3401 rights vignette by students from the Milwau­ Women Artists from the Permanent Collec­ Bronzes, terracottas & other objects from S 39th; 382-6044 kee High School of the Arts; 1:30pm; free; tion Charles A Wustum Museum of Fine the 19th century to the present; MAM: Se­ PAC: Uihlein Hall Arts, 2519 Northwestern Ave, Racine; gel Gallery; 271-9508 Feb 5 & 6 1/636-9177 Made in America - With Milwaukee Origins Feb 27-March 19 IPAAW Jan 21 Major showcase concert featuring new 1987 Clio Awards Feb 12-March 5 Gail Shaw-Clemons works by member & guest artists. Return­ Ad Club 2 - Milwaukee J Shimon & J Lindeman Abstract paintings & pastels; opening re­ ing are Chris Ferris, Syndee Pokora & Da­ The greatest commercials on the face of Early work ception Feb 27, 6-9pm; Tera Rouge De­ vid Popalisky; 8pm; $6/$4; Alverno Col­ the globe; cocktails 5:30pm, film 7:15pm; Opening reception Feb 12, 8-11pm; Leo signer Galleria, 225 E St Paul, Suite 404; lege: Pitman Theatre, 3401 S 39th; info live jazz by LeCrew; $15; PAC: Bradley Pa­ Feldman Galleries, Inc, 773A N Jefferson 291-0202 332-8467 vilion & Vogel Hall; info, Anne Vandeveld (alley entrance); open Sundays & by ap­ 347-5054 pointment; 289-0308 Feb 28-March 24 Laurence Rathsack Feb 11-14 Jan 23 Feb 12-March 31 Watercolors; opening reception Feb 28, 2- The Romance of Dance Pete Christensen Comtemporary American Hand '88 5pm; Bradley Galleries, 2639 N Downer; PM Ballet Listener Appreciation Party Objects in metal, clay, glass, fiber & wood; 332-9500 Love Songs Odd Rock Cafe, 2010 S Kinnickinnic; info group show of over 60 artists; Katie Gin­ Choreography, William Forsythe; Music, 871-3509 grass Fine Arts Gallery, 714 N Milwaukee; Feb 28-March 30 Dionne Warwick & Aretha Franklin 289-0855 MNEME Romeo & Juliet An Installation by Carol Emmons Choreography, Paul Mijia; Music, Tchai­ Feb 2-6 kovsky International Snow Sculpting Competition Feb 12-April 10 Opening reception, Feb 28, 3-5pm; UW- Steadfast Tin Soldier Free; PAC grounds Craft Today: Green Bay: Lawton Gallery, 2420 Nicolet Choreography, George Balanchine; Music, Poetry of the Physical Dr, Green Bay Bizet Feb 7 The 1 st major survey of handmade objects Art Pool Party to tour the US in 20 years; 300 handmade March 1-27 Menage a Quatre Whole building; life guards; parking w/at- craft works create since 1980 by American Jan Serr Choreography, Jean-Pierre Bonnefoux; tendant; flotation devices, volleyball, bas­ artists; opening reception Feb 11, 5:30pm; Recent Prints & Drawings Music, Offenbach ketball; beer, wine, food, music; 6-9pm; $3; MAM: Journal/Lubar Galleries; 271-9508 Opening reception March 6, noon-2pm; Th,F 8pm, Sa 2 & 8pm, Su 2 & 7pm; $5- Pulaski Pool, 2701 S Cleveland; 645-2328 First Unitarian Society: Common Room $40; PAC: Uihlein Hall; 273-7206 Feb 14-March 14 Gallery, 1340 N Astor; 273-5257 Feb 12-14 Feb 14 Ann Miotke Kuumba Festival Art Throb Watercolors; Mount Mary College: Marian March 1-30 Black Music & Dance Celebrate Valentine's Day at the Art Muse­ Art Studio, 2900 N Menomonee River Mary Ellen Mulvey Feb 12,13 8pm: Ko-Thi Dance Company um; 8pm-midnight; MAM: Vogel Helfaer Pkwy; 258-4810 Original oil paintings; opening reception Feb 14 3pm: Joseph Holmes Dance The­ Galleries; info 271-9508 TBA; Elements of Art & Design, 300 W Ju­ atre Feb 16-March 13 neau; 278-0294 $10.50/$8.50; UWM: Fine Arts Theater; Black Artists & Images 229-4308 Drawn from the museum's permanent col­ March • • • i lection, over 30 paintings, drawings, prints, Recent Acquisitions Feb 16 Opening reception TBA; David Barnett Gal­ sculpture, handmade paper & photo­ Glitch lery, 1024 E State; 271-5058 graphs; MAM: Faye McBeath Learning Betty Salamun, Choreographer Center; 271-9508 Rainbow FRAMES! March 1-April 30 Feme Caulker-Bronson Patrick Grace /$ Feb 19-March 18 Tom Keller Betty Salamun & the Dancecircus Steven D Foster, Photographer Surrealistic paintings, 3-d paintings & 8pm; UW-Marshfield, 2000 W 5th, Marsh- A Retrospective & Recent Works drawings; Bay View Malt Shop, 437 E Lin­ field, ticket info Peter Hendler, 715/387- 2 separate exhibitions opening collabora­ coln Ave; 744-4211 1147 tively on Gallery Night, 6-9pm; Retrospec­ March 2-27 tive Work at MIAD: Layton Gallery, 342 N Feb 19 Terrence J Coffman, Watercolor Water St; Recent Work at Michael Lord Bayanihan Phillipine Dance Company Gregg Kumlien, Oil Painting Gallery, 420 E Wisconsin/1 st Floor Pfister 8pm; $6-$9; Alverno College: Pitman The­ Matthew Powell, Drawings Hotel; info 276-7889 atre, 3401 S 39th; 382-6044 Mary L Ulm, Oil Painting West Bend Gallery of Fine Arts, 300 S 6th, MAM - Milwaukee Art Museum Feb 26-28 West Bend; 334-9638 750 N Lincoln Memorial Dr Cross Country Dances Cate Deicher, Choreographer Dances were created long-distance by scores sent from New York to California; • includes a piece by Jerome Kitzke; F,Sa 8pm, Su 3pm; $7/$6; Alverno Coilege: Pit­ 1 THE SPLIT BRAIN SERIES man Theatre, 3401 S 39th; 382-6044 »II I ' f tiilPtni III II . ** »

36 Art Muscle Feb 19 Jan 29-30 Feb 10 & 11 Gallery Night Student Film Festival LECTURES Georgia O'Keeffe: Our Centennial Woman An opportunity to spend a Friday evening UWM Film Department Art a la Carte lecture by Jan Kaye gallery-hopping; the evening begins with a Works by undergraduate students judged Jan 19 2/10 11:30am, 2/11 12:15pm; MAM: Brad­ lecture at the Milwaukee Art Museum at by fellow students; 7:30pm; $2/$1 donation Currents 12: New American Conceptua- ley Gallery; 271-9508 5:45pm; participating galleries will be open requested; UWM: Mitchell Hall, Rm B-91; lism 6-9pm: 229-6015 Gallery Talk by Dean Sobel, Asst Curator Feb 11 Bradley Galleries 1:30pm; MAM: South Entrance Gallery; Poetry of the Physical: 2639 N Downer Jan 31, Feb 2 & 3 271-9508 Reflection on the Exhibition & the Craft David Barnett Gallery A Song to Remember (1945) Movement of the 80's 1024 E State Story of Frederick Chopin & George Sand Jan 19 Paul J Smith, Director Emeritus, American D/Erlein Fine Art Ltd starring Merle Oberon & Paul Muni; Su Orontea Craft Museum, New York 790 N Jackson 1:15pm, T,W 7:30pm; $2; Gallery Cinema, Francesca Zambello, Skylight Co-Artistic 6:15pm; in conjunction with opening recep­ Dean Jensen Gallery 2901 S Delaware Director tion; MAM: Memorial Hall; 271-9508 217 N Broadway Noonlighting Lecture Series Katie Gingrass Gallery Feb1 Lecture/discussion on Cesti's operatic rar­ Feb 12 714 N Milwaukee Woza Albert ity; noon; those attending may bring a lunch Collecting American Art Leo Feldman Galleries Inc What would happen if Jesus Christ re­ or order one through the Skylight box office; Daniel J Terra, founder of the Terra Muse­ 773A N Jefferson (alley entrance) turned to the self-proclaimed Christian free; Skylight Theater, 813 N Jefferson; um of American Art, Chicago & US Ambas- Michael H Lord Gallery country of South Africa? 6:30pm; free; Mar­ 271-8815 sador-at-iarge for Cultural Affairs Pfister Hotel tin Luther King Library, 310 W Locust; info Business of Art Luncheon Lecture Milwaukee Art Museum 229-6015 Jan 21 Noon; $8 ($7 members) includes lunch; 750 N Lincoln Memorial Dr Transitions in Art MAM: Vogel/Helfaer Galleries; info Ruth Milw Institute of Art & Design Feb 7,9 & 10 William Wegman, Artist Valgemae, 271 -9508 x263 342 N Water The Great Victor Herbert (1939) Artists Forum Series Patrick & Beatrice Haggerty Museum of Starring Mary Martin & Allan Jones; Su The artist, recognized for his photographs Feb 16 Art 1:15pm, T,W 7:30pm; $2; Gallery Cinema, & videos of his dog Man Ray, will discuss Craft Today: Poetry of the Physical 13th & Clybourn 2901 S Delaware the transitions in his art through the various Gallery Talk by James Mundy, Chief Cura­ Posner Gallery media he has employed; 7pm; $3.50/$2; tor 207 N Milwaukee Feb 8 MAM; 271-9508 1:30pm; MAM: Journal/Lubar Galleries; UWM: Vogel Hall Gallery Generations of Resistance 271-9508 3253 N Downer An historical documentary that combines Jan 23 UWM: Mitchell Hall rare film footage & interviews to retrace a Chicago Bus Tour Feb 17 & 18 Kenwood at Downer century of struggle by South Africa's Black Tour of the Art Institute of Chicago for a Craft Today: Poetry of the Physical Walker's Point Center for the Arts majority; 6:30pm; free; Finney Library, retrospective exhibition of Anselm Kiefer's Art a la Carte lecture by Toni Ettenheim; 438 W National 4243 W North; info 229-6015 prints & Canaletto drawings; for reserva­ 2/17 11:30am, 2/18 12:15pm; MAM: Jour­ tions call Karen Kane at 332-3346 nal/Lubar Galleries; 271-9508 Feb 19 Feb 15 ART MUSCLE DANCE PARTY! Destructive Engagement Jan 23 Feb 18 Stop in after Gallery Night; DuPah's hits An explosive documentary about the little- Blues Harmonica Workshop with Jim Liban Through Music to Self plus surprises; 9pm; $5 donation; 909 W known details of South Africa's contra style 2-4:30pm; UWM: Music Building, Rm 320 A look at the power & healing energies of National; 672-8485 terrorist war against its Black-ruled neigh­ Autoharp Workshop with Paul Bowes music & how to better listen to, and grow, bors; 6:30pm; free; Atkinson Library, 1960 2-5:30pm; UWM: Music Building, Rm 180 with music; 1-2pm; $6; Mount Mary Col­ W Atkinson; info 229-6015 Info 229-4177 lege, 2900 N Menomonee River Pkwy; FILM 258-4810 Feb 19 Feb 1 Jan 17,19 & 20 Films of George Kuchar Orontea Feb 18 Song of Love (1947) UWM Film Services Ellen Harris, Chair, Music Dept, Univ of Chi­ Music in the Museum Series Story of Robert Schuman starring Kather- A selection from the work of this interna­ cago Jeffrey Hollander, Pianist ine Hepburn & Robert Walker; Su 1:15pm, tionally known independent filmmaker, best Skylight Evening Lecture Series Jackie Lindenmeyer, Docent T,W 7:30pm; $2; Gallery Cinema, 2901 S known for Hold Me While I'm Naked; com­ Harris will discuss the music of Orontea & Compositions by Liszt & Chopin; lecture Delaware mentary from the artist follows the showing; the operatic traditions that shaped perfor­ will relate the music to works from the Rene 7pm; UWM: Union Cinema; info 229-6015 mance practice in Baroque opera; there will von Schleinitz Collection of German Art; Jan 22 be a Q/A session & reception following the 5:30-8pm; $10/$7.50; MAM: Rene von You Have Struck a Rock Feb 20 lecture; 7pm; $4; Skylight Music Theatre, Schleinitz Gallery; info 276-7889 Awake From Mourning George Kuchar 813 N Jefferson; info 271-9580 Home & the World Series Premier of new video; discussion with film­ Feb 18 Films set in South Africa; 7:30pm; free; maker follows showing; 3pm; UWM: Mitch­ Feb 2 Computer Art/Computer Music Martin Luther King Center, 1531 W Vliet; ell Hall, Rm B-91; info 229-6015 Currents 13: Francesco Clemente, the Jon Welstead, Composer, UWM Faculty info 229-3906 Graphic Work Kazuya Sakai, Artist, Univ of Texas, Dallas Feb 23 Gallery Talk by Dean Sobel, Asst Curator Artists Forum Series Jan 23 South Africa Belongs to Us 1:30pm; MAM: Teweles Gallery; 271-9508 New approaches to artistic expression us­ Witness to Apartheid You Have Struck a Rock ing home microcomputers; 7pm; $3.50/$2; Home & the World Series Interviews with 5 typical Black women Feb 3 & 4 MAM; 271-9508 The film's witnesses include black adults & about their daily lives & the leadership role Currents 13: Francesco Clemente; the children who have been tortured in deten­ women played in the mass civil disobedi­ Graphic Work Feb 19 tion or assaulted by police; 8pm; free; ence campaign against the hated pass Art a la Carte lecture by Diane Pellegrin Craft Today: Poetry of the Phisical UWM: Union Cinema; info 229-3906 laws during the 1950s; 6:30pm; free; Cen­ 2/3 11:30am, 2/4 12:15pm; MAM: South James Mundy, Chief Curator ter St Library, 2620 W Center; info 229- Entrance Gallery; 271-9508 Gallery Night Opening Lecture Jan 24,26 & 27 6015 5:45pm; MAM; 271-9508 Stars & Stripes Forever (1952) Feb 6 Story of John Philip Sousa starring Clifton Feb 29 Can a Forgery be a Work of Art? Feb 24 & 25 Webb & Ruth Hussey; Su 1:15pm, T,W Bound to Strike Back Colloqium moderated by Curtis Carter, Victorian Vignette 7:30pm; $2; Gallery Cinema, 2901 S Dela­ This 1987 film provides a close-up look at Haggerty Museum Director Art a la Carte lecture by Nancy Hermann ware today's unprecedented mobilization of mil­ Art forgery will be discussed in terms of its 2/24 11:30am, 2/25 12:15pm; MAM; 271- lions against apartheid & introduces the philosophical and psychological signifi­ 9508 Jan 27 probable leaders of a future free South Afri­ cance as well as its meaning in the context ca; Dr Ronald Edari will lead a discussion of art history & the art market; 10am-1pm; The Gods Must Be Crazy Feb 25 after the film; 6:30pm; free; Martin Luther free; Marquette University: Straz Hall, Rm 7pm; free; Mount Mary College: Theater, Craft Lecture King Library, 310 W Locust; info 229- 105; info 224-1669 2900 N Menomonee River Pkwy; 258-4810 Lee Nordness, Art Consultant & Author 6015 7pm; MAM: Vogel/Helfaer Galleries; 271- 9508 East Side Aerobics On-going classes Free Lessons! JOIN ANY TIME New session: Jan. 5 MADE IN AMERICA Book your foreign St. Mark's Church With Milwaukee Origins Hackett £r Downer travel with us and Tuesdays and Thursdays 5 p.m. and 6:15 p.m. you can get up to 5 Free trial class free foreign language Call Janet ^243.9331 lessons. 414 - 482 - 4978

\ PHtffOGRW SLIDES EFERENCES 5tar language Center IPAAW Presents Dance from across the country, including guests: PRINTS & Chris Ferris of New York, David Popaliski of Dayton and Syndee Pokora of Tuscon. FEB. 5—6, 8:00 p.m. $6.50 2223 E. Capitol Dr. in Shorewood C0L0R/B&W SAMPLES Call 332-3901. Alverno College Pitman Theatre ARTISTS Call 332-8467 or 382-6044 for more info 37 Feb 27 Jan 22,23 & 25 Feb 5,6 Feb 19 Madison Bus Trip Milwaukee Symphony Orchestra Milwaukee Symphony Orchestra Yo-Yo Ma, Cellist See the exhibition In the American West: Zdenek Macal, Conductor Lukas Foss, Conductor Emanuel Ax, Pianist Photographs by Richard Avedon at the Horatio Gutierrez, Pianist Robert Bonfiglio, Harmonica Milwaukee Symphony Orchestra Madison Art Center; $44 ($38 members); Ligeti: Lontano Jan Williams, Percussion Great Performers Series reservations: Karen Kane, 332-3346 Schumann: Piano Concerto, Op. 54 Ives: Washington's Birthday 8pm; $15-$50; PAC: Uihlein Hall; 273-7206 Strauss, R: Ein Heldenleben Harrison: At the Tomb of Charles Ives March 3 F,Sa 8pm, M 7:30pm; $10-$30; PAC: Uih­ Cowell: Concerto for Harmonica & Orches­ Feb 21 Music in the Museum lein Hall; 273-7206 tra Barbara Henry, Pianist Jeffrey Hollander, Pianist Foss: Concerto for Percussion & Orchestra Faculty Concert Series Sally Mollomo, Asst Director of Education Jan 24 Copland: Hoedown 3pm; $5/$4; Wisconsin Conservatory of Music of Ravel, Debussy & Scriabin as re­ Duo Coriolan Recital F,Sa 8pm; $10-$30; PAC: Uihlein Hall; 273- Music, 1584 N Prospect; 276-5760 lated to the Museum's Impressionist Col­ 8pm; $4/$3; Wisconsin Conservatory of 7206 lection; 5:30pm; $10; MAM: Lakeside Gal­ Music, 1584 N Prospect; 276-5760 Feb 21 lery; info 276-7889 Feb 6 Fine Arts Quartet Jan 27 Eric Tingstad, Guitarist The Beethoven Cycle March 8-29 Milwaukee Music Ensemble 8pm; $12.50-$15; PAC: Vogel Hall; 273- Quartet, Op 18, No 5 Using Your Whole Brain Creatively Cate Deicher & Lynn Gillian, Dancers 7206 Grosse Fugue, Op 133 Learn the functions of differing spheres of Featuring the World Premier of The Big Quartet, Op 130 the brain & how to quiet the left side in order Gesture by Jerome Kitzke; 7:30pm; $7/$5; Feb 7 3pm; $9.50/$7.50; UWM: Fine Arts Recital to free the creativity of the right side; four PAC: Vogel Hall; 273-7206 Julie Hochman, Cello Hall, 229-4308 Tuesday mornings beginning Mar 8; 10am- Faculty Concert Series noon; $32; Mount Mary College, 2900 N Jan 27-Feb 14 3pm; $5/$4; Wisconsin Conservatory of Feb 21 Menomonee River Pkwy; info & registration Orontea Music, 1584 N Prospect; 276-5760 Tahlia Chamber Ensemble 258-4810x288 Antonio Cesti 3pm; $5/$3.50; Mount Mary College: Skylight Comic Opera Feb 8 Stiemke Hall, 2900 N Menomonee River March 11-13 Orontea, Queen of Egypt, is disdainful of Emerson String Quartet Pkwy; 258-4810 Stringalong Weekend love until she is ensnared by the charms of Artist Series at the Pabst Claudia Schmidt & Sally Rogers Alidoro; W,Th 7:30pm; F,Sa8pm, Su 1/31 & 8pm; $6-$16; Pabst Theater, 144 E Wells; Feb 21 UWM Folk Center 2/14 2pm, Su 2/7 7:30pm; $13-$15; 813 N 271-3773 John D Daugherty, Tenor Jefferson; 271-8815 YMCA Camp Edwards, East Troy; info & Artist & Ensemble Series registration 229-4177 Feb 9 Civic Music Association Jan 28 David Finckel, Cellist 2:30pm; free; Villa Terrace, 2220 N Terrace MUSIC Montclaire & Aramis Quartets Emerson Quartet Piotr Folkert, Pianist Chamber Music Master Class Feb 22 8pm; $4/$2; UWM: Recital Hall; 229-4308 10am; UWM: Recital Hall; 229-4308 Fine Arts Quartet Jan 17 The Beethoven Cycle Frederic Hand Jan 28 Feb 10 Quartet, Op 18, No 6 Guitar concert; 8pm; $7/$5; Wisconsin Josh White, Jr Penderecki Quartet Quartet, Op 95 Conservatory of Music, 1584 N Prospect; Great Alverno Folk Series 7:30pm; Piano Gallery, 219 N Milwaukee; Quartet, Op 59, No 3 276-5760 8pm; Alverno College: Pitman Theatre, 276-3525 8pm; $9.50/$7.50; UWM: Fine Arts Recital 3401 S 39th; 382-6044 Hall; 229-4308 Jan 18 Feb 11,12 & 14 Los Angeles Piano Quartet Jan 29-31 Milwaukee Symphony Orchestra Feb 22 & 29, March 7,14 & 21 Artist Series at the Pabst Milwaukee Symphony Orchestra Go for Baroque Series Sing & Jam Sessions Mozart: Duo for Violin & Viola in G Major SuperPops Concert JoAnn Falletta, Conductor UWM Folk Center Dvorak: Piano Quartet in E-Flat Major JoAnn Falletta, Conductor Feb 11: Tutti Italian; Masters of the Italian 7-8:30pm; $7; Century Hall, 2340 N Far- Schurmann; Quartet for Piano & Strings Cinema Classics; music from the movies; Baroque period well; info 229-4177 8pm; $6-$16; Pabst Theater, 144 E Wells; F,Sa 8pm, Su 7:30pm; $10-$30; PAC: Uih­ Feb 12: Basically Bach 271-3773 lein Hall; 273-7206 Feb 14: Royal Fireworks; music of Handel, Feb 23 Purcell & Frederick ll/Quantz Penderecki Quartet Jan 18&21, Feb 1 & 8 Jan 31 Th,F 8pm, Su 7:30pm; $6 & $10, series 12:30pm; free; UWM: Union Art Gallery Sing & Jam Sessions Fine Arts Quartet $25; Pabst Theater, 144 E Wells; 291 -6000. UWM Folk Center The Beethoven Cycle: Romantic preconcert dinner at the Hyatt Feb 24 Jan 18: Robbie Clement 3pm; $9.50-$7.50; UWM: Fine Arts Recital Regency, Feb 14, 5:30pm; $20 per person; Music at the Mount Jan 21: Caroline & Sandy Paton Hall; 229-4308 reservations 291 -6000 A casual concert featuring faculty, guests & Feb 1: Will & Ann Schmid students; 12:30pm; free; Mount Mary Col­ Feb 8: Pete & Lou Berryman Jan 31 Feb 13 lege: Stiemke Hall, 2900 N Menomonee 7-8:30pm; $7; Century Hall, 2340 N Far- Fasten Your Seatbelt: Around the World in Valentine's Eve Concert River Pkwy; 258-4810 well; info 229-4177 88 Keys Great Lakes Opera Arts Ensemble Judith Goetz 8pm; Villa Terrace, 2220 N Terrace Feb 25 Jan 19 Piano Informance; 3pm; $5/$4; Wisconsin Jazz Ensemble Concert Joseph Genualdi, Violinist Conservatory of Music, 1584 N Prospect; Feb 13 Marquette University Chamber Music Master Class 276-5760 Phil Heywood, Guitarist Free; time TBA(afternoon); Varsity The­ 10am; free; UWM: Recital Hall; 229-4564 8pm; $5; Wisconsin Conservatory of Mu­ atre, 1*326 W Wisconsin; 224-7476 Jan 31 sic, 1584 N Prospect; 276-5760 Jan 20 Chamber Players at Alverno College Feb 25 Jeffrey Siegel Martinie McDaniel, Soprano Feb 13 Magnificat: Marian Music Keyboard Conversations 3pm; free; Alverno College, 3401 S 39th; UWM Symphony Orchestra Performance of Art Songs: The Singer & Chopin: Sonata No 3 in B Minor 382-6130 Margery Deutsch, Conductor Her Accompanist 1-2pm; $6; Mount Mary 7:30pm; $8.75/$6.50; PAC: Vogel Hall; 2nd Annual UWM High School Honors Or­ College: Ewens Center, 2900 N Meno­ 273-7206 Feb1 chestra Festival monee River Pkwy; 258-4810 Fine Arts Quartet With special guests Robert Hickok, Gerald Jan 20 The Beethoven Cycle Fischbach & The Greater Milwaukee Youth Feb 25 Piotr Folkert, Pianist 8pm; $9.50/$7.50; UWM: Fine Arts Recital Wind Ensemble; over 200 of Wisconsin's Penderecki Quartet Folkert will play an all-Brahms concert; Hall; 229-4308 finest young artists performing works by 8pm; $4/$2; UWM: Recital Hall; 229-4308 7:30pm; $4; Piano Gallery, 219 N Milwau­ Beethoven, Rossini, Stravinsky, Tchaikov­ kee; 276-3525 sky & Wagner; 7:30pm; $6/$3; Pabst The­ Feb 26-28 ater, 144 E Wells; 229-4308 Mel Torme PAC - Performing Arts Center UWM - University of Wisconsin, Milwaukee Symphony Orchestra 929 N Water St Milwaukee Kenwood Blvd at Feb 14 SuperPops Concert Downer Ave George Lindquist, Guitarist JoAnn Falletta, Conductor Faculty Concert Series F,Sa 8pm, Su 7:30pm; $10-$30; PAC: Uih­ 3pm; $5/$4; Wisconsin Conservatory of lein Hall; 273-7206 Music, 1584 N Prospect; 276-5760 Feb 27 Feb 15 Music Dept Variety Show Piano Portraits with Jeffrey Hollander 7pm; free; Mount Mary College: Multi-Pur- JKaty's Mozart & Salieri pose Room, 2900 N Menomonee River AMERICAN INDIAN ARTS 7:30pm $6/$3; UWM: Fine Arts Recital Pkwy; 258-4810 Hall; 229-4308 Feb 27 Feb 16 5th Annual Concerto Competition Piotr Folkert, Pianist Contact S. Benedicta Fritz for further info, 12:30pm; free; UWM: Union Art Gallery 382-6134 Annual sale on Feb 18, 20, 21 sterling silver jewelry Feb 28 Milwaukee Symphony Orchestra Don Linke, Guitarist and signed Pueblo Pottery Zdenek Macal, Conductor Faculty Concert Series FEBRUARY 6 THROUGH Andre-Michel Schub, Pianist 3pm; $5/$4; Wisconsin Conservatory of VALENTINE'S DAY Mozart: Serenata Notturna Music, 1584 N Prospect; 276-5760 Schoenberg: Verlarte Nacht Rachmaninoff: Piano Concerto No 2 Feb 29 Th 11am, Sa 8pm, Su 7:30pm; PAC: Uih­ Paganini Trio (608)251-5451 lein Hall; 273-7206 Haydn: Trio in A-flat Major 1803 MONROE STREET Beethoven: Trio in D-Major Feb 19 MADISON, Wl 53711 Ravel: Trio in a-minor Andre-Michel Schub, Pianist 7:30pm; $7.50/$5; Wisconsin Conserva­ Chamber Music Master Class tory of Music, 1584 N Prospect; 276-5760 10:30am; UWM: Recital Hall; 229-4308 38 Art Muscle March 4 Jan 28-31 Joanne Eggert Swenson, Violinist The Beauty Part MADISON March 11 & 12 S J Perelman Choreographer's Concert S Benedicta Fritz, Pianist ART EXHIBITIONS Faculty Concert; 7:30pm; free; Alverno The Milwaukee Players Kanopy Dance Theatre Comedy/satire featuring 12 actors in over 8pm; $5.50/$4.50; 315 N Henry; 608/255- College: Alphonsa Hall, 3401 S 39th Now-Jan 29 100 different roles, written by the man who 2211 Paperworks March 5 scripted many Marx Brothers films; Th-Sa Wisconsin Center for Paper Arts PERFORMANCE ART Bach to Bach 8pm, Su 2 & 7pm; $5.50-$7.50; Pabst The­ Handmade paper art; Wisconsin Academy ater, 144 E Wells; 271-3773 Oberlin Baroque Ensemble of Sciences, Arts, Letters, 1922 University Jan 28 Historical Keyboard Society Ave Meredith Monk Feb 17-21, 24-28 An evening of chamber music marking the Solo Selections, Film from Quarry, Houston The Glass Menagerie 200th anniversary of CPE Bach & a look at Set, Excerpt from Ellis Island, & Excerpts Tennessee Williams Now-Feb 21 the musical life of the Bach family & friends; from Book of Days Marquette University Theatre Twentieth-Century Graphics: 8pm; $10; UWM: Fine Arts Recital Hall; Working with universal themes, Monk's W-Sa 8pm, Su 7:30pm; $6/$5; Evan P & The Hollaender Collection 229-4308 novel avant-garde style draws on an enor­ Marion Helfaer Theatre, 13th & Clybourn; includes works of Kokoschka, Dubuffet, Ernst, Giacometti, Klee, Leger, Matisse, Pi­ mous variety of vocal & instrumental re­ March 5 & 6 224-7504 casso & Rouault; Elvejhem Museum of Art: sources including microtonal pitches, un- Milwaukee Symphony Orchestra Mayer Gallery, 800 University Ave; sual vocal configurations & evocative Margaret Hawkins, Guest Conductor Feb 18-28 608/263-2246 effects; 8pm; $8.75-$12.75; Madison Civic The Pancake King Milwaukee Symphony Chorus Center, 211 State St; 608/266-9055 Mendelssohn: Elijah Phyllis LaFarge, Playwright Jan 16-March 6 James Valcq, Composer Sa8pm, Su 7:30pm; $10-$30; PAC: Uihlein Contemporary Graphics from the Collec­ THEATER Next Generation Theater Hall; 273-7206 tion of Marshall Erdman & Associates Original musical work-in-progress; Skylight March 6 70 works by artists of national & internation­ Now-Feb 28 Theater, 813 N Jefferson; 271-8815 Marlee Sabo, Soprano al importance; Elvejhem Museum of Art, Accidental Death of An Anarchist Faculty Concert Series 800 University Ave; 608/263-2246 Dario Fo Feb 18-March 5 3pm; $5/$4; Wisconsin Conservatory of ARK Repertory Theatre The House by the Stable Music, 1584 N Prospect; 276-5760 Feb 20-May 1 Manic farce by Fo, one of Italy's most well- Acacia Theatre Company In the American West: known contemporary playwrights — a Th.Sa 8pm, Su 2pm; $7-$9; Eastbrook March 7 Photographs by Richard Avedon Marxist with a sense of humor; Th,F 8pm, Center Theatre, 2844 N Oakland; 962- Shlomo Mintz, Violinist A chronicle of the men & women, often ig­ Su 3pm; $5.50/$4.50; 220 N Bassett; 2380 (Sign-language interpreted perfor­ Yefim Bronfman, Pianist nored & overlooked, who work at hard, un­ 608/255-5845 mance Feb 21 by AACT I) Artist Series at the Pabst celebrated jobs; large-scale gelatin-silver 8pm; $6-$16; Pabst Theater, 144 E Wells; prints, mounted on aluminum; Madison Art Jan 15-Feb 21 Feb 18-March 12 271-3773 Center, 211 State St; 608/257-0158 Creature Winds Damn Tango Bryn Magnus & Renee Miller Theatre Tesseract March 8 Feb 27-April 10 Broom Street Theater Adaptation of Manuel Puig's Argentinian Penderecki Quartet Highways, Byways & Waterways: Suggested by Colin Wilson's The Mind novel Heartbreak Tango in which the spirit Institute of Chamber Music The British Landscape Tradition Parasites; Th,F,Sa 8pm; $4.50; 1119 Wil­ of a young Don Juan who has died in his 12:30pm; free; UWM: Union Art Gallery The landscape of the British Isles as well as liamson; 608/244-8338 prime is resurrected through the reminisc­ the European continent is featured in this ing of the women with whom he was inti­ March 10 exhibition of prints & watercolors from the Jan 23 mate during his lifetime; Th,F 8pm, Sa 5 & Music: Performance/lnformance late 18th through early 20th centuries; El­ Frankenstein 9:15pm; $8-$10; Lincoln Center for the Violin performance followed by demonstra­ vejhem Museum of Art, 800 University Ave; Barbara Field Arts, 820 E Knapp; 273-PLAY tion by a visiting artist of methods of memo­ 608/263-2246 Guthrie Theater of Minneapolis rization using selections by Bach & Schu­ 8pm; $12.75-$16.75; Madison Civic Cen­ Feb 19-March 6 mann; 1-2pm; $6; Mount Mary College: DANCE ter, 211 State St; 608/266-9055 The Unvarnished Truth Ewens Center, 2900 N Menomonee River Sunset Playhouse Feb 19 Pkwy; 258-4810 Feb 12-28 Th,F 8pm, Sa 6 & 9pm, Su 7pm; $7; 800 Melrose Motion Company Love & Death in Verona Elm Grove Rd; 782-4430 Several provocative new works by Artistic March 10-12 Director Claudia Melrose & guest choreo­ Classic Theatre of Madison Milwaukee Symphony Orchestra graphers from around the midwest, includ­ Western world premiere of the Soviet rock Zdenek Macal, Conductor Feb24-March 13 opera of Romeo & Juliet; $7.50-$8.50; Circe & Bravo ing an original work created by Chicago Lynn Harrell, Cellist artist Bob Eisen especially for this com­ Madison Civic Center: Isthmus Playhouse; Gould: Classical Variations Donald Freed 608/266-9055 Clavis Theatre pany; 8pm; $7/$6; UW-Madison: Wiscon­ Schumann: Cello Concerto sin Union Theater, 800 Langdon St; The first lady-code-name Circe has be­ Dvorak: Slavonic Dances, Op 46 608/262-2201 March 4-April 24 Th 11 am, F,Sa 8pm; $10-$30; PAC: Uihlein come a threat to national security. She has The Environmentalists been flown to Camp David & a Secret Ser­ Hall; 273-7206 March 5 ARK Repertory Theatre vice agent-code-name Bravo has been as­ Wisconsin environmentalists who have signed to guard her. Drama/suspense/poli­ Mark Morris Dance Group March 12 Dubbed 1986 Choreographer of the Year made a difference in the survival of the Russel Brazzel, Guitarist tics; W-F 8pm, Sa 5 & 9pm, Su 2 & 7pm; $8- planet; music, drama & comedy; an original $11; 2071 N Summit; 272-3043 (Sign- by The New Yorker, Morris assimilates ele­ 8pm; $5; Wisconsin Conservatory of Mu­ ments of surprise & absurdity into his revue; F 8pm, Su 3pm; 220 N Bassett; sic, 1584 N Prospect; 276-5760 language interpreted performance March 608/255-5845 13 by AACT I) works, keeping his audiences wondering what will happen next; 8pm; $10.75- March 13 Feb 26-March 20 $14.75; Madison Civic Center, 211 State Bob Franke St; 608/266-6550 Great Alverno Folk Series Samaras 8pm; Alverno College: Pitman Theatre, John Leicht 3401 S 39th; 382-6044 Milwaukee Repertory Theatre CHICAGO Now-Feb 13 The journey of Danish physicist Niels Bohr Jan Serr, Paintings March 13 from the Golden Age of Physics early this David Shapiro, Works on Paper Michael Kalinyen, Tenor century through his entry into the politically ART EXHIBITIONS Feb 19-March 19 Faculty Concert Series hazardous Nuclear Age; Stiemke Theater, Eleanor Moty, Jewelry 3pm; $5/$4; Wisconsin Conservatory of 108 E Wells; 224-1761 Now-Jan 31 Walter Hamady, Collages Music, 1584 N Prospect; 276-5760 Anselm Kiefer Perimeter Gallery, 356 W Huron, 3rd Fir; Feb 28-April 3 Now-Feb 7 312/266-9473 March 14 The Tale of Lear Sean Scully, contemporary Irish-born artist Tadashi Suzuki Now-Feb 14 Peter Serkin, Pianist Now-Feb 29 Milwaukee Repertory Theatre Recorded & Revealed Artist Series at the Pabst On Nature T-F 8pm, Sa 5 & 9:15pm, Su 2 & 7:30pm; Photographic work by Joyce Neimanas, 8pm; $6-$16; Pabst Theater, 144 E Wells; Featuring Timothy Barnes, David Klamen, $6-$15; 108 E Wells; 224-1761 (Sign-lan­ Lorie Novak, Esther Parada & Ruth 271-3773 Julie Lichtenberg, Thomas Rose & E W guage interpreted performance Feb 23 by Thorne-Thomson Ross; Marianne Deson Gallery, 340 W Hu­ PERFORMANCE AACT I) Feb 2-April 16 ron; 312/787-0005 Henri Cartier-Bresson: The Early Work ART March 4-20 March 5-June 19 Faith Healer Jan 30-April 3 Feb 7 & 8 Georgia O'Keefe Brian Friel Cross References: Sculpture Into Photog­ Camp Douglas Quadrangle A centennial exhibition of her work; tickets Milwaukee Chamber Theatre raphy Eric Lunde available through Ticketron $5; A transcendental whodunit revealing the Ed Ruscha: Recent Paintings Performance installation by former mem­ Art Institute of Chicago, Michigan at Ad­ hidden fountains of faith in a shamelessly Feb 6-April 3 ber of Boy Dirt Car; 8pm; $3; Leo Feldman ams; 312/443-3626 opportunistic Irish evangelist; 3/4 7:30am, The Marshall Frankel Estate Galleries Inc, 773A N Jefferson (alley en­ W-Sa 8pm, Su 3/6 &13 7pm, Su 3/13 & 20 Museum of Contemporary Art, 237 E On­ trance); reservations requested: 289- Now-Feb 6 2pm; $10.50-$12; Skylight Theatre, 813 N tario; 312/280-2671 0308 Endangered Species Jefferson; 271-8815 Group show including over 50 artists; also Feb 5-March 31 Christine Bourdette: New Constructions; & THEATER March 7-April 2 Pat Hidson Schoolchildren from Latin & Parker School Adventures of Huckleberry Finn Opening reception Feb 5 6-9pm; Gilman Now-Feb 21 make art First Stage Milwaukee Gruen Gallery, 225 W Superior Three Sisters Klein Gallery, 356 W Huron; 312/787-0400 Adaptation of the Mark Twain story of a Anton Chekov THEATER young boy & a runaway slave; weekdays Milwaukee Repertory Theater Now-Feb 6 10am & 12:30pm, $4; Sa 1 & 3pm, $5 & $7; Olga, Masha & Irina long to escape from Collage At N.A.M.E. Feb 8-March 27 PAC: Todd Wehr Theater; 273-7206 provincial life & return to Moscow; T,W N.A.M.E. Gallery (new location), 700 N Feb 15-March 27 7:30pm, Th,F 8pm, Sa 5 & 9:15pm, Su 2 & Carpenter; 312/642-2776 The Danube 7:30pm; $4-$15; 108 E Wells; 224-9490 The Conduct of Life Now-Feb 13 Maria Irene Fornes Differing States of Mind Organic Theater Company Jean Stamsta, Sally Rose & DS McLaugh­ 2 1-act plays in rotating rep; The Danube lin opens Feb 8; The Conduct of Life Feb 15; Paper Press, 340 W Huron; 312/664-4510 W-Su (call for schedule); $14, $20 both shows; 3319 N Clark; 312/327-5588 39 Jan Grower, Untitled, 1987 Jan Groover March 18-April 17 Michael H. Lord Gallery 420 E. Wisconsin Avenue

We are honored that Michael H. Lord Gallery has chosen The Pfister Hotel as its new homer

You can expect to see many new and exciting art forms in the gallery's large picture windows along Wisconsin Avenue or come and visit with Michael and his knowledgeable staff about the many unique pieces you will find.

Watch for the first exhibition at the new gallery STEVEN D. FOSTER, PHOTOGRAPHER Opening Reception 6:00-9:00 pm, February 19 (Gallery Night)

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MILWAUKEE'S PREMIER HOTEL