-MONTHLY PUBLICATION Volume 3, Issue 6 JULY 15/SEPT 15, 1989

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I if # i V Editor-in-Chief Debra Brehmer From the Editor Associate Editor Calendar Editor In the Sunday, July 2 Milwaukee Journal, critic city's smaller groups. Money allocated to save the Business Manager Tom Strini wrote an editorial about the funding ballet comes out of a limited pot. In all probabil­ Mary Therese Gantz of "second tier" arts groups in the city and the ity, other groups, who are struggling already, price we pay to maintain our classically oriented received less funding this year because of our Associate Editor-Music groups—the ballet, symphony, Repertory Thea­ city's little cultural "crisis." There's many smaller ter and Florentine Opera. groups who could occasionally use some bailing Bobby DuPah out, but no one comes flying to the rescue. There He brought up an outrageous possibility. Strini are so few "second tier" arts groups in Milwaukee Associate Editor dared to suggest that perhaps Milwaukee doesn't to start with, and the fact that the city/state and Nathan Guequierre need a mid-sized classical ballet company. What private flinders allow them to survive at the very if, instead, our main dance company was (This is fringe is pathetic. What's even more frightening is the kind of thing one utters in a hushed tone) — the reaction of several senators and other Wash­ Photo Editor black. Black! What if Ko-Thi was the city's pri­ ington officials to the Mapplethorpe show and to Francis Ford mary dance company? Has Strini flipped his lid? artist Andres Serrano's Piss Christ. Objecting to Maybe not. what they saw as religious blasphemy and ob­ Design Assistance scenity in the work, they have questioned the Ko-Thi, the 20 year-old African dance troupe, National Endowment for the Art's funding crite­ Jim Catel draws from a classical, ancient African base, but ria. This attitude endangers the funding of all creates original, contemporary work. They have work that challenges or operates in an unfamil­ Sales Representatives a national reputation, and a large, racially-mixed iar realm. Forces are mobilizing to limit the types Sam Woodburn, Lisa Mahan following that would even be larger if they per­ of work the NEA can fund; I urge you to write to formed a regular season at the Performing Arts your congressperson and senators and make Center. This all makes Strini's proposition rather your opinions heard regarding what could even­ feasible. tually amount to censorship of artists. Printing by Citizen Publishing Ko-Thi is a major artistic force in this city and Locally, if we indeed are going through a time FRIENDS OF ART MUSCLE derserves to be recognized. A first-rate black when the city and state are recognizing the dance troupe coming from the Midwest would "economic impact" or value ofthe arts, we have Perry & Bobbie Dinkin Ellen Checota certainly draw attention. And the city could take to hope that they will acknowledge the role ofthe Barbara & Jack Recht Barbara Kohl-Spiro pride in helping to nuture a group that actually smaller arts groups and individual artists as well. Jim Newhouse Thelma & Sheldon Friedman creates the work they perform. Now that Strini has put this proposition in print Peter Goldberg Mary & Mark Timpany Theo Kitsch Dr. Clarence E. Kusik and brought some of these issues into discussion, Gerald Pelrine Tina Peterman But Strini's proposition raises many issues. Why it's time for all of us to vocally question the phi­ Jay Brown Babcock Mechanical is it so difficult for even the best "second tier" losophy of our civic leaders and funders and shift Christine Prevetti Katie Minahan groups to exist in Milwaukee? And why do we our attention toward securing the stablity of our Richard & Marilyn Radke Richard Cler Dennis Hajewsky Patti Davis take for granted the city's need to foster classical smaller arts groups and individual artists. We Harvey & Lynn Goldstein Robert A. Holzhauer ballet, symphony and opera groups at the same need to carry on the lineage of the past through Robert Johnston Gary T. Black time we accept as status quo the poverty of our classical groups, but if we don't support and Polly & Giles Daeger Joel & Mary Pfeiffer emphasize the creation of new work, our future Judith Kuhn Nicholas Topping smaller groups. The classical groups, of course, Dorothy Brehmer C. Garrett Morriss are very nice things to have around. They give the will be mighty bleak. Karen Johnson Boyd Geralyn Cannon city the sense of sophistication it desperately Tim Holte/Debra Vest Roger Hyman seeks. But what truly makes a city become known Jack & Ellen Weller Dean Weller for its arts is not just the "big three," but the Arthur & Flora Cohen Remy And, on another note: Art Muscle-will celebrate its Sandra Butler David & Madeleine Lubar innovators. third anniversary with the next issue, Sept. 15- Jimmy G. Scharnek William E. Harrold Nov. 15. This year's exhibition will deal with Sidney & Elaine Friedman Mike & Joyce Winter David & Peggy Wells In the last five years, the Milwaukee Symphony work that incorporates found objects (see Op­ has been bailed out of financial disaster several portunity listing, page 5). The magazine is also times. Recently, the city's money people rallied to now being sold in Madison at 54 stores (it's even To become a FRIEND OF ART raise more than $1.2 million to save the ballet. in Woolworths and Pranges!) and throughout MUSCLE, send a check for $50 The Pettits have a deep pocket, and it's wonder­ much of the rest of the state, as well as a limited which entitles you to receive Art ful to know that when one of the big groups gets number nationally. Don't worry, it will remain Muscle for one year and gets your in trouble, somebody will come to their rescue. free in Milwaukee. name on the masthead! Although we can't fault the ballet for taking a risk, people don't realize the effect this has on the Debra Brehmer Art Muscle is published bi-monthly by Art Muscle-Milwaukee, Inc., 909 W. National Ave., P.O. Box 93219, Milwaukee, Wl 53203, (414) 672-8485. Third Class postage paid at Milwaukee, Wl 53202 and additional mailing offices. Postmaster: Send address changes to Art Muscle, P.O. Box 93219, Milwaukee, Wl 53203.

Entire contents copyright © Art Muscle- Milwaukee, Inc. All rights reserved, except in reviews. Reproduction in whole or part without permission is prohibited. Art Muscle Cover: Kathleen Mitchell's OscarPetersen Trio, hand-painted photograph, 1989,4by 6feet.Kathleen is a trademark of Art Muscle-Milwaukee, Inc. Mitchell lives in Hartland and teaches desktop publishing. Back Cover: Raymond Kwan, Mourning for the Tiananmen Massacre, 1989. Raymond Kwan, a Subscriptions rates in continental U.S.: $12 native of China, is a photographer for Ferderbar Studios, Milwaukee. Right: Wild Space Dance Company's New Works performance in March at Alverno College. one year; elsewhere, $16 one year. Photos by Jim Brozek.

2 Art Muscle Art Muscle CONTENTS

FEATURES

THE DECO MAN 18 Debra Brehmer

WOODLOT 20 Ann Filemyr

AM'S GUIDE TO THE WINDY CITY 22

WOODLAND 24 Renee Deljon

THE JAZZ MAN 29 Steve Wurcer

DEPARTMENTS

AGOG 4

LETTERS TO THE EDITORS 9

POST FACTO - REVIEWS 12

PREVIEWS 13

PERFORMANCE FUTURES 14

VIDEO REMARKS 15

CALENDAR 31

MADISON ROUNDUP 37

CHICAGO ROUNDUP 38

WALK THIS WAY 39

Next Issue: Sept 15-IMov 15 Ad deadline: Aug 25 A rts Davy named editor featuring African masks and decora­ Art museum statistics nounces five new board members: Kate Kate Davy, Alverno College Fine Arts tive arts, Asian and oriental furnish­ The Association of Art Museum Direc­ Davy, Dean of Fine Arts, Alverno Col­ Dean, has been appointed theatre re­ ings, textiles and sculpture. The new tors recently released a statistical survey lege; Dr. Walter Farrell, professor of view editor of Theatre Journal, 2L quar­ Peltz Gallery opened July 1 at 1119 E. of the nation's art museums. The Mil­ Educational Policy and Community terly publication considered the top Knapp in a Victorian house. The gal­ waukee Art Museum ranks as the 24th Studies at UWM; Oscar Mireles, assis­ academic theatre journal in the coun­ lery will feature contemporary paint­ largest museum out ofthe 150 respond­ tant director of the United Community try, published by Johns Hopkins Uni­ ings, prints, drawings, sculpture and ing to the survey. Its total exhibition Center; Karl Rajani, President and CEO versity Press. photography (open Tues. through Sat. space is the 12th greatest. Number of full of St. Francis Hospital; and Jim Wad- 11-4). The gallery will respresent na­ time employees however, falls toward sworth, assistant vice president-Corpo­ Curtis joins architectural firm tional and local artists. Cissie Peltz has the bottom at 71, with number of part rate Communications for Wisconsin Robert Curtis, aMilwaukee sculptor who been a private art dealer for five years timers in 21st place. Number of volun­ Bell. recently completed architecture school, and previously served as corporate teers ranked especially high with the has been hired by Heike/Design Asso­ consultant to the Kit Basquin Gallery. museum in 6th place. Other statistics Wins PEN award ciates, Inc., a Brookfield architecture, include: attendance, 39th; NEA grants, Wisconsin author Jane Hamilton re­ engineering and interior design firm as Art tours 6th; state support, 90th; county support, cently was awarded a PEN/Heming- project designer. A bus trip to a performance by the Bol- 15th; corporate contributions, 29th; total way Foundation Award for Distin­ shoi Ballet Academy at the Madison salaries, 63rd; cost of exhibitions, 64th; guished First Fiction. Hamilton, of Roch­ Ballet resurrected Civic Center July 22 is being offered by cost of art purchased, 37th. ester, received the award for her first The Milwaukee Ballet successfully Tours d'Art. The trip includes dinner novel, The Book of Ruth, published in raised $1.2 million to retire its past debt at the Ovens of Brittany, the ballet and Altschueler leaves Clavis 1988 by Ticknor and Fields. and meet operational needs after dis­ transportation for $72. Tours d'Art is Ted Altschueler, program director of solving its "joint venture" with the also offering a Frank Lloyd Wright trip Clavis Theater for the past several years, Metropolitan Gallery news Pennsylvania Ballet. Major gifts came to Illinois on Saturday, Aug. 19. Wright's resigned from his position to move to Metropolitan Gallery has temporarily from the Pettit Family ($500,000), the home and studio in Oak Park, lunch, Chicago where he is auditioning at vari­ set up shop at 229 E. Wisconsin Ave., Lynde and Harry Bradley Foundation and a visit to the Museum of Science ous theater groups. He will return to Suite 400. Hours are Thurs. and Fri., 1- ($200,000) and a $100,000 anonymous and Industry to view the Frank Lloyd Milwaukee next season, however, to act 6 and Sat. 10-2 (or by appointment, 223- gift. Wright: In the Realm of Ideas exhibi­ in and guest direct several Clavis produc­ 4838). They have not been able to final­ tion are included in the $58 trip. Call tions. ize purchasing a building in Walker's New galleries Karen Kane at 332-3346 for reserva­ Point, but hope to find a permanent Village Bazaar on Farwell has opened a tions or more information. New board members at Rep space by the fall. gallery next door at 2201 N. Farwell The Milwaukee Reptertory theater an­

Grant s Structure changes for Percent for Art ceived $3,500, for artistic development and Organizational grants and Misc: Inner state artists' grants The Wisconsin Arts Board seeks to $6,650 for salary assistance; Theatre X, re­ City Arts Council, three grants of $3,500, The Wisconsin Arts Board has replaced commission or purchase visual art for quested $9,650, received $3,000, for staging $5,000 and $6,417 (salary) for a community Camelot in collaboration with the Skylight arts festival and a black arts celebration; the Individual Project Grant category five state building projects under Colorlines (requested $3,000, received with a new Individual Artist Program Wisconsin's Percent for Art Program. Opera, to be directed by David Schweitzer in 1990; Walker's Point Center for the Arts, $2,854) for the 10th annual Black Arts Expe­ category to "enable the arts board to Deadline is August 15. For an applica­ requested $3,600, received $1,000 and $500, rience project; Friends of the Hispanic better meet the needs ofthe individual tion, write to Wisconsin Arts Board, to bring Joyce Scott's Thunder Thigh Review Community (requested $3,000, received artist by providing more funds and an 131 W. Wilson, Suite 301, Madison, back to Milwaukee. $ 1,500) for a mural to go on the north wall of Wl, 53702 or call (608) 266-0190. the community center at 1028 S. 9th to be easier application process." painted by Reynoldo Hernandez; Great The following funds were awarded in the Lakes Film and Video (requested $4,000, Artists and organizations will now apply WAB grants announced dance category: Ten Carter, requested $ 1,950, received $1,000) for its 1990 festival; Artists received $505, for Moves Speak, a new work in separate categories. They previously Grants totalling $528,973 (the same Series at the Pabst, $5,000, to bring in per­ blending poetry and dance; Diane VanDer­ formers; La Escuela Fratney, $3,214; Lan­ competed for project funds. Artists will amount as last year) were awarded to hei, requested $1,990, received $1,299, for no longer have to designate specific 241 individuals and organizations re­ caster Elementary School, $1,306; Milwau­ workshop and performances for emerging kee High School ofthe Arts, $745; Milwau­ projects or requested amounts. Award cently. A total of 418 grant applica­ artists; Alverno College, requested $1,105, kee Public Library, $1,900; Pioneer Drum amounts are pre-set. A total of $ 122,000 tions were received asking for $1.9 received $409, for Alexander technique and Bugle Corps, $750; Ward and Barb will be awarded to 45 individual artists million. Awards were given in four workshop; Alverno College, requested $ 1,750, Adolphus Roberts, $750; Evelyne O.R. received $1,059, for Summer Dance Institute; in six disciplines. Fewer individual art­ categories: Artists-in-Education, Proj­ Satine-Poma, $800; South Division High Bauer Contemporary Ballet, requested $8,500, School, $3,427; UW-Milwaukee, $6,000 and ists will receive more funding in the ect Grants, Salary Assistance, and Per­ received $2,809, to create two new works; new system. Grants will be announced forming Arts Network-Wisconsin. $6,000; Iverson White, $1,000 to complete Dancecircus Ltd, requested $8,400, received Magic Love, a film about supernatural love in January. Artists who receive funding $1,000, for its 15th season celebration and andAfro-Americanhistory; Wisconsin Paint­ will then be expected to develop proj­ In the Milwaukee area, the following received $3,500 for salary assistance; Foot­ ers and Sculptors, $2,000; Woodland Pat­ ects and report them to the Arts Board visual artists received funding: Leslie hold, requested $3,000, received $1,309, to tern, $1,500and $1,500; Historical Keyboard bring in guest artists for workshops and per­ before receiving funds in July. Bellavance, $3,000 for Common Knowl­ Society, $4,500; Portia Blankenheim Wright, edge, an installation to be shown in Green formances; Ko-Thi, $7,000 salary assistance; $1,200; Haggerty Museum of Art, $10,496, Bay, with catalog; Sandra Greuel, $2,000 Wild Space, requested $5,624, received for its upcoming (Aug. 1) exhibition, Emerg­ Deadline for the new Individual Artist for an installation, Infhtencial Readings $2,809, for Mirror Image, a new dance with ing Legacy: African Art 1880-1987. Program grants is Sept. 15. One appli­ that will interpret 12 books, from Kafka to slide images by photographer Jim Brozek; cation for three categories of support an etiquette manual; Matthew Groshek, Wild Space, $5,000 for salary assistance. $1,750 for Prospect, an installation involv­ The following individuals served on the will be available Aug. 1. Categories panels that decided grant awards. include: Fellowship Awards, $5,000 ing concepts of astronomy, science and Literary awards went to: Paul Leslie, re­ quested $3,000, received $350, for short sto­ Media Arts: William Bonne, St. Norbert each for artistic excellence; New Work power; Mark Mulhern, $1,200 for 30 mono­ types based on Paul Bowles' book The ries; Jeff Poniewaz, requested $2,500, received College; Judith Strasser, Madison; Tom Awards, $3,500 each, granted for the Delicate Prey, and Carri Skoczek, $1,000 $500, for a second book of poetry; Artreach, Gaudynski, Milwaukee. Visual Arts: Kent Anderson, UWM adjunct creation of new work and project de­ for Martini Tropics, a jungle of social and requested $3,000, received two grants to­ professor; Tom Bamberger, photographer; velopment; Development Grants, sexual interaction with cutout, wooden talling $1,500, for programs involving poetry and people in treatment programs; Mount Chris Davitt, Cape Townsend Workshop, $1,000 each to aid artist's professional figures and animals. Green Bay; Rolf Westphal, sculptor, Law­ development (for conference fees, Mary, requested $1,500, received $1,064, for a four-day writers' workshop. rence University; Peggy Flora Zalucha, Mt. video documentation, etc.). Music com­ The following artists received funding in Horeb painter. the theater category: Mark Anderson, $786 position, choreography, film and video Music awards: Early Music Now, $3,500, to Community/Folk arts: Janice Sheppard, for Sleepless VII, an ongoing series of multi- Madison; Wendy Leeds, UW-Parkside; Sheila and inter-arts grants will be awarded in disciplinary theater work; Clavis Theater, bring in performers; Tom Gaudynski, re­ alternating years. This year choreogra­ quested $3,000, received $1,000, for four Payton, Hansberry Sands, Milw.; David $4,000 operation grant; Debra Clifton, $400 Sailer; Dan Eunurian, Veroqua. phy and Inter-Arts are eligible. new musical works to go with four dance toward creating/writing a theater piece Theater: Lorraine Gross, Whitewater; Bob based on the 14th century; Flora Coker, pieces; Dave Kenney, $ 1,000; Milwaukee Clas­ sical Guitar Society, $500; Milwaukee Cham­ Feldman, Stevens Point; John Dillon, Mil­ Call the Wisconsin Arts Board for more $400 (same project as Clifton); Deborah ber Music Society, three grants of $1,000, waukee Rep; Barbara Poehling, La Crosse; information (608) 266-0190 or write for Davis, $ 1,000 for Circus of a Queer Nature, Fanny Hicklin, Madison Rep. an hour-long new work which will tour the $750 and $3,000; India Music Society, re­ an application form: 131W. Wilson St., quested $5,600, received $1,000, to present Dance: Karen Cowan, Madison; Joi Brown, state; Friends Mime, $9,000, for outreach Kohler Arts Center; Michael Moran, Ladys- Suite 301, Madison, Wl 53702. programs; Hansberry Sands Theatre Co., two concerts; Milwaukee Music Ensemble, requested$3,500and$3,400, received$l,175 mith; Judith Moss, Madison; Chris World, $2,000 for marketing expansion; John Kish- Milwaukee. Art/history grants line, requested $2,500, received $400, to and $ 1000, to tour and to present concerts for the young and the elderly; Milwaukee Opera Literature: Martha Bergland, Glendale; Ron The deadline is Sept. 1 for grant propos­ finish a play about business, politics and ethics for the 1989-90 Theatre X season; Company, requested $3,750, received $2,808, Ellis, Whitewater; Credo James Enriquez, als relating to the arts and local history Milwaukee Chamber Theater, requested in salary assistance; Youth Symphony, re­ Madison; Kathleen Stealer, Alma; Debra Kay through the Dane County Cultural Af­ $40,000, received $3,000, for the 8th an­ quested $3,875, received $3,224 in salary Vest, Milwaukee. fairs Commission. Contact Lynne Eich, nual Shaw festival; Milwaukee Theater Fes­ assitance and $1,500, for a regional festival; Music: Darrell Aderman, Shell Lake; Martha Room421, City-County Building, Madi­ tival, requested $8,000, received $2,000, Sylvan Winds requested $2,300, received Blum, Madison; Jon Borowitz, Stevens Point; Sister Mary Hueller, Alverno College; Ger­ son, Wl 53709 (608) 266-5915 for more for its 2nd annual festival; Next Generation $1,000 and $1,600 in salary assistance to ex­ pand to a 12-member group to present some ard McKenna, Milwaukee. information. Theater, $2,000, for a new production called Banana Blitz; John Schneider, $900; rarely performed woodwind music from the Theater Tesseract, requested $18,000 re­ 18th and 19th centuries. 4 Art Muscle opportunitie s New Walker's Point offered. Guest teachers include Anny Mo­ also invited to submit work to The Gallery a prospectus, send S.A.S.E. to N.A.M.E., 700 artists' organization sey, Gate Deicher and Flora Coker. Call Ten Regional Juried Exhibition, Oct. 5-Nov. N. Carpenter, Chicago, IL 60622. Artists interested in creating a Walker's Point Debra Loewen at (414) 474-7398 or (414) 9. Deadline is Aug. 25. Write for a prospectus. Artist Association should attend an organ­ 271-0307 for more information. Wildlife entries izational meeting at 6 p JTI. Wednesday, July Art Muscle Anniversary show Artists are invited to submit work to Wild­ 26 at ArtMuscleMzg&zme, 909 W. National Peace Museum contest Art Muscle Magazine's Third Anniversary life: The Artist's View at the Leigh Yawkey Ave., Third Floor. The meeting will be used The Peace Museum in Chicago is sponsor­ exhibition will open Friday, Oct. 20. This Woodson Art Museum in Wausau. Deadline to gauge interest in such an organizaiton, ing a contest to develop an image of "peace: year's theme is art work that incorporates is Nov. 15.Twoandthree-dimensional works outline projects, define goals, generate a something that conveys peace in a way found objects. The show will be held in the are eligible. Write to: Leigh Yawkey Wood­ mailing list, and elect officers. Planning an that is universally recognized or under­ Art Muscle Ballroom, 909 W. National Ave. son, 700 N. 12th St., Wausau, Wl 54401 or annual Walker's Point studio tour, organiz­ stood." It is not a poster contest. Each slide Artists should bring their work to Art Muscle call (715) 845-7010. ing an annual exhibition of Walker's Point should be accompanied by a $5 check to Saturday, Sept. 30 or Sunday, Oct. 1 between artists, creating an emergency-funding The Peace Museum. Deadline is Aug. 31. 10 a.m. and 4 p.m. The exhibition will be WPS Biennial '89 source for association members, assisting First prize receives $200 and will have the juried by three local artists: Maggie Beal, Artists may submit work to Wisconsin Paint­ artists in finding reasonable studio space, work displayed in the museum's perma­ Joanne Davis and Su Zacharski (all of whom ers and Sculptors 1989 Biennial. The exhi­ and, in general, heightening the profile of nent collection. Call (312) 440-1860 for incorporate found objects in their work). bition will be at the Rahr-West Museum, the artist constituency in the neighborhood more information. Entry fee is $5 per piece. (Three piece maxi­ Manitowoc, Sept. 17 to Oct. 29. $2,000 in could be some of the association's pro­ mum). Call 672-8485 for additional informa­ prize money will be awarded. Write to Rahr- posed projects. Directors wanted tion. West, N. 8th at Park St., Manitowoc, Wl The Village Playhouse in Wauwatosa is 54220 for an application. Work will be ju­ Milwaukee Art Guild now accepting resumes from individuals Slide registry ried Aug. 28. A recently formed organization, the Mil­ interested in directing plays in the 1989-90 Artists interested in including their work in waukee Art GuEd, is calling for new mem­ season. Productions will include Lily, The the state's Percent for Art Slide Registry should Yaddo retreat bers. The Guild was formed to enhance art Felon's Daughter; Quitters and / Remem­ submit slides by Aug. 15. Call (608) 266-0190 Yaddo is accepting applications from writ­ appreciation in Milwaukee and raise artistic ber Mama. One director is assigned to for additional information, or write WAB, 131 ers, visual artists and composers to spend standards through exhibitions, lectures and each play. Directors are also being sought W. Wilson St., Suite 301, Madison, Wl 53702 up to two months at this retreat in New exchange of ideas. Membership informa­ for the Original One Act Play Festival. for applications. York. Deadline is Aug. 1. Write to Yaddo, tion may be obtained from Reynaldo Her­ Applications are due by Aug. 1. For infor­ PO Box 395, Saratoga Springs, NY 12866, nandez, 264-7525 or Charly Palmer, 466- mation call Victor White at 475-5955- Mail Parade Participants (518)584-0746. 5695. resumes to: P.O. Box 13095, Wauwatosa, Theatre X is looking for people interested in Wl 53213. participating in its Third Annual Performance Art Muscle volunteer Crafts Council Parade on Aug. 4 as part of the Third Ward A volunteer is needed to help work on Art Wisconsin Designer Crafts Council is ac­ Improv workshop Block Party. Contact Theatre X at 278-0555. Muscle's calendar section. Accurate typing cepting applications for Craft Collection, a A contact improvisation workshop by An­ skills and an eye for detail essential. Contact juried fine craft fair to be held Nov. 25 and 26 drew Harwood, a Montreal choreographer, Program Director 671-6179. at the Milwaukee County War Memorial will be July 26-29 at the Madison State Sept. 1 is the deadline for artists' applications Center. It is open to all United States artists. Street Center, 122 State Street. Sponsored to the 1990-91 Artist-in-Education Program Animals' Chorus Applications can be obtained from: Han- by Willow, A Dance Concern, Inc., more Directory. Through the program, artists con­ A 24-member mixed age and race chorus is nelore Jundt-Pritchard, 827 Steeple View information can be obtained by calling duct lectures and workshops in various needed for a production of NY artist Ann Road, West Bend, 53095 or by calling 675- (608) 258-8322. schools. Visual, dance, media and theater Carlson's performance piece Animals. The 2480. Deadline is August 1. artists are invited to apply. Contact: WAB, 131 performance, produced by the Milwaukee Exhibition entries W. Wilson St., Suite 301, Madison, 53702, for Art Museum, will take place Oct. 5-7 at the Dance Workshop Artists are invited to submit work to 3-D an application. Dance Factory. Professional experience is Milwaukee's Wild Space Dance company Only, an exhibition at Gallery Ten, not required; foreign language ability is will present Pro Forma: A Dance/Perform­ Rockford, IL Aug. 25 to Sept. 29. Slides are NAME Gallery, Chicago desirable. Auditions are Sept. 19 and 20. ance Workshop Aug. 2 through Aug. 6 at due July 22. Include $5 per slide. Work Performance artists are invited to submit work Call Pat Tully at (414) 271-9508 for informa­ Wild Space Farm in Ixonia. Classes in dance should be limited to five feet. Contact to Opening The Circle of Identities, a juried tion. technique, improvisation, choreography, Gallery Ten, 221A East State St., Rockford, performance series questioning/expanding text and action and spatial theory will be ILL 6l 104, for more information. Artists are conventional notions of female identity. For

Gossi p Hot news flash from People Magazine: is spending time at home with his kid, good idea. Sources say it was the art could benefit from the freshness a Deep David Lynch (.Blue Velvet) is producing Syd. . . Wouldn't it be nice if local museum and its Friends of Art organiza­ Tunnel event might bring. This year's a new nighttime soap opera for ABC bands were slated to open for the tion who were against the idea of artists wares seemed especially generic and called Twin Peaks, scheduled to air national acts at Summerfest's Marcus capitalizing on the Lakefront crowd and stingy, a somehow sanitized or anemic next year. Starring in it is Peggy Lipton Ampitheater? Just a thought. .. What­ contacted the alderman. However, Beth version of art/craft. We wonder how (ModSquad). She will play Normal Jen­ ever happened to Deep TunneB Sev­ Hoffman, volunteer coordinator at the many black artists were included in the nings, the sexually repressed owner of eral artists who were rejected from this art museum, says this isn't true. The 184 total? It seems as if Lakefront is a diner. Lipton said, "In David's work year's Lakefront Festival of Arts had museum has no influence over who gets getting whiter andmore suburban every everyone is sexually repressed, and planned a small alternative Lakefront county park permits, she said, but added year. . . Take note: the new Thai there is that constant awareness of fear." Fest called Deep Tunnel Festival of that "competition" from the alternative restaurant on 19th and National is great Is prime time ready for David Lynch? Arts on the county/city grounds just group was not wanted and that "it could and cheap. Incredible chicken/coco­ Let's hope so... Omnibus, which moved south ofthe museum. The appropriate be confusing, with crowd control and nut milk soup. . .Another tip, Bits of into the Eagle's Club on Wisconsin Ave. county office assured them they would parking." Alderman Henningson would Britain, 1201E. Russell Ave. (Bay View) to present an impressive ongoing series have no problem obtaining a permit. not return calls regarding the incident. has fresh baked scones everyday that of live concerts by local and national The check was mailed, and a substan­ Incidentally, there were 1,080 applica­ you can either eat there or get to go with bands, closed its doors on June 29th. tial amount of work was completed tions to Lakefront from which 60 artists fresh devonshire cream. There's no According to proprietor TonySelig, they when Deep Tunnel organizers were were chosen. The remaining exhibitors, where else to get it in Milwaukee! were evicted by the landlord over a abruptly informed their permit was to make a total of 184, were past award financial dispute. They will be resolv­ denied. Alderman Paul Henningson winners invited back. Next year's fest is ing the matter in court. Meanwhile, Tony apparently decided the fest was not a June 15, l6and 17. Itseemsas ifLakefront

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The first comprehensive retrospective devoted to the quintessential Pop artist, featuring approximately 250 paintings, works on paper, sculptures, and films, many of them never before shown.

JUNE3-AUGUST13, 1989 THE ART INSTITUTE OF CHICAGO

Advance tickets required. Available through TICKETRON outlets and by calling TELETRON (312-902-1919). Also available through the Art Institutes ticket booths at Michigan Avenue and Columbus Drive entrances. For further information, call 454-8484. (§)HCKETRDN®

The Chicago presentation is sponsored by CHICAGO TITLE AND TRUST COMPANY and CHICAGO TITLE INSURANCE COMPANY Andy Warhol, Turquoise Marilyn, 1962. Silkscreen ink on synthetic polymer paint on canvas. Collection of Stefan T. Edlis. This exhibition has been supported by a generous grant from Knoll International.

6 Art Muscle CONTINUING EDUCATION

Milwaukee Institute of Art & Design

NON-CREDIT CLASSES OFFERED IN: DRAWING • DESIGN;; MINTING • PHOTOGRAPHY • SCULPTURE • ART HISTORY

For more information U please call 276-7889

July 14 - \M$k September 3

an eye for art ;J\MZ5$ Painting / Sculp­ ture / Installation

You are cordially invited to

view Peabody's Interiors Exhibition organized by the Newport Harbor Art Museum, outstanding collection of fine Newport Beach, California

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Whitefish Bay Silver Spring at Lydell • 962-4550 Museum v.?>J ' ;ffl S U B S C R B E NOW A I D

UP TO © 1 Join us for an exciting eighth season of Present Music filled with variety, beauty, unpredictability and the cutting edge of today's music. As a series concert goer you will be able to experience such international and local artists as Martin Rosenblum, Michael Torke, Meredith Monk, Double Edge, Milwaukee Dance Theater and Ravi Shankar. You will also have the added advantage of top-priced seating and a savings of up to 35% over single ticket prices. Series prices range from Meredith Monk $45.50 to $24.75. So subscribe now and SAVE. For more information or to order series tickets call: 414.374.1888 PRESENT MUSIC D/ERLIEN P.O. Box 11430 FINE ART LIMITED Milwaukee, Wl 53211 306 North Milwaukee Street Milwaukee, Wisconsin 53202 (414) 224-1773 / 332-4482

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8 Art Muscle LETTERS TO THE EDITORS

(Letters to the Editor are welcomed and description of "dabbling," then, car­ petence for the protection ofthe public I want to bring to your attention a encouraged. Please include your name ries with it the threat of being a self- they serve. To fail to provide an edu­ recent proposal by Milwaukee Sena­ and address on all correspondence. Art fulfilling prophecy if people decide cation which would guarantee skills tor John Plewa which responds di­ Muscle may edit letters for space.) that only groups they deem "experi­ necessary to provide professional rectly to the need for space by artists mental" can experiment, only groups services would be irresponsible of any and arts organizations. The Arts Incu­ deemed "traditional" can tackle the professional program, and as the only bator proposal is patterned after classics. No, something more difficult accredited school in the state, we Wisconsin's Business Incubator Pro­ is demanded. would ill-serve the public by not pro­ gram, but responds more specifically Arts groups shouldn't viding an adequate education. Of to the diverse spatial needs of artists. be classified We've got to look at the range of course this is not to say that there is I have enclosed a copy of the draft for I've been chewing over Mark offerings we have in this community, not a strong theoretical, architectonic your information. Anderson's thoughtful article in the (a range vastly larger than when I first component to the school. There is a May 15-July 15 issue of ArtMuscle. He arrived a dozen years ago), and attend wide array of history/theory/criticism It is unfortunate that you were un­ likens the work at the Ballet, the the work we find personally challeng­ courses taught by seven faculty with aware of the proposal at the time of Symphony and the Rep to museums, ing, and meaningful, no matter -who's expertise in the area as well as other publication, as any proposal such as saying we keep "the sacredness ofthe doing it. foci of study, including environment/ this requires a groundswell of public forms" alive. I guess I should be flat­ Sincerely, behavior studies, historic preserva­ interest and support. I hope you will tered by the analogy and here's why: John Dillon tion and vernacular architecture. The lend your support both publicly, in I was born into a blue collar family in Artistic Director graduate studios range in content from future columns, letters, phone calls the Far West and it wasn't until I was Milwaukee Reptertory Theater classicist to vernacular to energy, as and converstions with legislators and into my 20s that I first stepped into an (Anderson replies: I appreciate your the School's philosophy is one of colleagues. art museum. It was the Max Beck- comments. It is my desire to be inclu­ pluralism. Students consistently win Pam Garvey mann exhibit at The Art Institute of sive rather than divisive, and in pur­ design awards in national and regional Executive Director Chicago (I was in college nearby) and suit of that perhaps my impassioned competitions and are now working in Wisconsin Citizens for the Arts I'd never seen such a torrent of rage rhetoric has more gush than grace. I 33 states in the United States as well as Milwaukee and pain as Beckmann had captured regret that I might therefore have led abroad. on his canvas. I left shaken, unable to the reader away from understanding Can the critic speak. A few months later I changed the more important points I was trying There is no doubt that the three-year have friends? my major from the social sciences into to establish. The concern I have is for graduate program is a difficult route, Jon Erickson's letter in the last issue art history and the jump to theater the disappearing force of art; the given that most students take six years posed the question — can one be followed soon after. And those sacred spirit inside the form inside the institu­ to complete the professional degree friends with someone and not like forms and the cultural values they tion. I'm asking for more attention, (four years at the B.S. level and two their art? Another way to put the ques­ embody — well, in a time of ever- more support for that tiny thing which years at the Master's level). Neverthe­ tion is — will a friendship continue increasing philistinism, they're des­ is often difficult to recognize, and easy less, those who persevere and work after you publ ically trash your friend's perately needed and I'm especially to overlook). hard often graduate among our top art? Though the answer could be pri­ pleased when young audiences at­ students and move into jobs where vately yes to the first question, I doubt tend the MRT. Architecture school their prior education and experience many of us could answer yes to the responds to essay become valuable assets. Before they second. And yet, despite all the above, there's I was interested to read an article by graduate, they complete a rigorous something about words like "museum" Jim Kuch in your last issue ("Soap­ core of required studios, which while And should we expect less from our and "sacred" that suggest hushed box," May 15 to July 15) concerning limiting their freedom to explore at friends? Friendships require many voices and formal dress. Theater has his experiences in the Department of first, provides them with the neces­ forms of restraint. Though these lines always found its vitality in its attempts Architecture at UWM. He was a good sary skills to complete their education are often crossed, it is not too much to to squeeze man's most unruly im­ student and we were sorry that he and contribute to the profession when ask of a friend not to reveal your pulses on its stages. abandoned his studies so early in the they graduate. Students who are not weaknesses to the public? program when he discovered the willing to undertake this preparatory I respect Mark Anderson's point of education of an architect was not what work prior to exploring the diversity The potential loss and emotional cost view (as Milwaukee's tallest artist his he had anticipated. However, a fail­ of courses offered later in the program of speaking one's mind is always vantage point is singular), enjoy his ure to live up to one individual's ex­ are probably ill-matched to the neces­ higher than we would like but that friendship, and share many of his pectations does not necessarily invali­ sities of an architectural education and doesn't really change from place to concerns. I do have some unease, date a program that is consistently would perhaps be better served in a place. What may be different in Mil­ however, with his tendency to cate­ rated as one ofthe best in the country, more theoretical discipline, such as waukee than other places is its inti­ gorize arts groups, to divide them into and I believe I owe it to the other 800 Art History. macy. To have a more critical dia­ traditional, experimental, etc. I'm students and countless alumni to put logue on the arts, editors must try to especially concerned that when a his comments into some sort of per­ Of course, I wish Jim well and am glad avoid the inherent chumminess that group he believes to be traditional spective. that he has chosen to continue with runs through any small community, does something untraditional that it's his interest in architecture. Washing­ and push writers to put their opinions dismissed as "dabbling." The three-year program which Jim ton University is a good program that more forcefully and honestly before started is designed for students with offers a wide range of expertise, al­ the public. Well, the MRT has worked too long undergraduate degrees in non-archi­ though I cannot help feeling that, as Tom Bamberger and too often with artists like Ping tectural disciplines and provides a any program which leads to architec­ Milwaukee Chong, Irene Fornes, Tadashi Suzuki, concentrated, intensive education for tural practice must ensure certain basic etc., to call it "dabbling." (Since my those hoping to join the profession. skills in its students, Jim may well find Gallery clears up start in theater was with Peter Brook, The first year is by necessity a crash Navy Pier confusion himself equally dissatisfied by his in­ The National Theatre ofthe Deaf and, course in literally learning a new lan­ In your March 15-May 15 issue you troductory experience. Perhaps if he especially, Joseph Chaikin's legendary guage — the language of spatial mentioned in your gossip column that sticks this program out longer than Open Theatre, theatrical innovation understanding, which requires the a Milwaukee art gallery was not in­ one semester he will realize the im­ was, and is, a passion). But I'm not development of drawing skills and vited to participate in the Chicago portance of basic education and will writing to prove the Rep an experi­ the knowledge of fundamental prin­ International Art Exposition at Navy discover, as I feel he did not at UWM, mental company or justify our exis­ ciples of construction, design and Pier this year. Many people errone­ the breadth of courses and learning tence (the work must do that). Rather, architectural history and theory. This ously inferred that you were alluding which are available to the graduate it's to utter a cautionary word about basic foundation of knowledge is to the Michael H. Lord Gallery. student. this process of classifying arts groups essential to enable the students to Robert Greenstreet into the big ones and the little ones, develop their skills further in the re­ We asked you to print a clarification in Chair, Department of Architecture the conservatives and the radicals, etc. maining two years ofthe program. As the May 15-July 15 issue to rectify this three-year graduates who have weath­ Associate Professor misconception, but when we checked University of Wisconsin-Milwaukee If you've decided the Symphony, let's ered the first year — and it is a tough our copy received today, we couldn't say, only does "classical" music, you're adjustment and a huge amount of work find a word about this matter. not likely to attend an all Lucas Foss — have discovered, their ability to Arts Incubator Program (untraditional hardly begins explore the field of architecture fur­ proposal explained Therefore, we would like to go on to describe the compositions of the ther and utilize their knowledge gained I read with interest Mark Anderson's record to state that we chose to pass Milwaukee Symphony's Conductor in their first degree is much easier as Performance Futures column in the this year because of other commit­ Laureate). And when you buy a ticket they progress through the program. May 15-July 15 issue of Art Muscle, ments, and we will be returning to to an arts group, any artist's work, However, to assume that students noting the statement: "Money is Navy Pier in 1990. We wish to make it you're not only nourishing your spiri­ explore with complete freedom the needed, but another need which might clear that the Michael H. Lord Gallery tual self, you're also casting a ballot. aspects of architecture which happen be easier to deliver is work space." I was not the Milwaukee gallery that And if those who support innovation to interest them is incorrect. Architec­ agree and suggest that the arts com­ was excluded from Navy Pier in 1989. in the arts pass on, say, Lucas Foss it ture as it is practiced in the United munity can achieve greater state sup­ Michael H. Lord only makes such programming for the States is a professional field, and archi­ port by identifying needs such as space Editor's Note: We apologize for Symphony all the more difficult to tects require a state issued license to which go beyond the single focus of not clarifying this matter in the schedule, the fight more uphill. Mark's ensure minimum standards of com­ dollars. previous issue. new from... • WHITE THUNDER WOLF J • HMHH• f STUDIO

KELLY/SPANGLER ARTFORTHEFUNOFIT

A showing of works of art by Tom Kelly > sculpture, carvings and ornaments & Noel J. Spangler > drawings and paintings; a retrospective showing July 21 through September 9,1989 Opening reception Friday, July 21,1989 /5-8 pm

KATIE GtNGRASS GALLERY 714 N. Milwaukee St.,Milwaukee,Wl53202 j 414-2890855 Gallery Hours: Mon/Sat 10-5

Shield Earrings © 1989 Rostad Designs

in Milwaukee's Historic Third Ward 1 1 306 North Milwaukee Street Milwaukee, Wisconsin 53202 1^™ i 278-7424

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<>* "Hubbard 963-9165

Qark^Lodge HOI SE SITTING PICKUP AND DELIVERY 'Where the fine arts meet the cudnary arts GROCERY SHOPPING SERVICE - post office, - Give us a list and dry cleaning, cars for well shop and deliver. service, repairs and emissions test, tickets Serving CARD & GIFT for sporting events, SHOPPING - wrapping plays, concerts, etc. Friday dinners • 5 to 10 p.m. and delivery and other etc. etc. Sunday. (Brunches -10 a.m. to 2 p.m. holiday services DON'T SEE YOUR Catering and conference facilities REMINDER SERVICES NEEDS ON THIS LIST? - birthdays, PLEASE ASK - OUR anniversaries, Drs. ERRANDS ARE appointments & other ENDLESS! Open veranda dining mind slipping events. Most senices $10per hour. overtooking the Milwaukee %,ver PARTY PLANNING AND Others flat rates will apply ORGANIZATION - use depending on errand. our ideas or let us put yours into action. AMMMWM

3565 N. Morris Blvd Shorewood Wl 53211 332-4207 10 Art Muscle Wl W BACK ON Nnl 11 }M AND INTO

it IUARY 12-FEBRUARY 4 1990

• S ix exciting theatre companies... Four great plays... Tw o stunning theaters.. .plus you • Friends Mim e Theatre/Great American Children's T ie atre Hansberry-5>a rid s Theatre Co./Milwaukee Chamber" rh ;atre Ne>t ( jeneration Theater/Theatre Tesseract Pabs t Theater -Todd Wehr Theater 1989-90 SUBSCRIPTION TICKETS NOW ON SALE. SUBSCRIBE NOW AND SAVE 15%. 271-8282

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UWM Art Museum for further information. ^CHARDHAAS The University of Wise call414/229.650£ ARCHITECTURAL FACADES, 1976-1986 Vogel Hall Fine Arts Gallery Art History Gallery A I'ORTHH K>Oi NhVlN sc RRi-N;'R!X is, iV.S^J. I'RINTH) ON' RIVKS Bl-K I'Al'hR IX AN }•!>! HON 1)1- 10(1. SIUNHIANDSIMHI RH) :ft illl ARiisi

CHRISTO / OLDENBURG / WILEY GRUENWALD / KWINT / MULHERN LESLIE / MATSON / PERLSTEIN BERMAN / ROSENBLATT / DILL RICHARDS / SAYERS / CURTIS GREENEBAUM / HUGHS / MATTA TERRY / MORIORITY / FRASER PLOTKIN / PUHEK / MILLE / SORMAN / ELLIOT / HAAS L' Heritage Visuel Hugh Townley Wauswaiming de France An exhibition commemorating Emblematic wooden Objects from the the Bicentennial of sculptural reliefs Chippewa Museum and Cultural Center the French Revolution Reception for the artist: Reception: Bastille Day reception: September 10 from 1-4 p.m. September 10 from 1-4 p.m. July 14 from 4- 7 p.m.

July 5 Oct 1 Sept 10 Oct 8 Sept 10 Oct 15 Art Show 15, Fifteenth UWM Alumni Association Art Exhibition, through July 23 at the Fine Arts Galleries

A Smashing New Season From Milwaukee's Repertory Theater! 11 POST-PACTO

SANDRA GREUEL In one ofthe best transformations ofthe presumably is "decent"), since he admits tary, interjected before or sometimes DEMETRA COPOULOS long hallway on the second floor of at the outset that he hasn't actually seen during the phone calls, balanced the WPCA, Copoulos creates a vibrantly any of Mapplethorpe's supposedly ob­ tension of some of the more intense MARK LAWSON colorful hall lined with columns shaped scene photographs — his self-righteous conversations. The performance was Walker's Point Center for the Arts like those in the Palace of Minos covered dismissal of their artistic merit is based characterized by a genuine respect for May 16-June 16 with bright flowers a la Matisse. These solely on an article he read about them the wide variety of frameworks that gay columns however, don't rest on terra (in Vanity Fair, no less)! What has men have developed for self-expression. firma—they sit precariously atop stacks provoked this heated response, one of huge books which also have bright suspects, is Kilpatrick's implicit deduc­ Which is not to say the issues raised by covers. The walls have comets and tion that the photographer's eye was ferker are important only within the gay milky ways boldly painted across them. "warped" because Mapplethorpe was community. Like Theatre X*s previous The ceiling twinkles with a thousand openly and provocatively homosexual, project inspired by Michel Foucault's stars. In the distance at the end of the and that, because he "was a participant History of Sexuality, ferker is about how hall sits a naked man on a stool, his back in the dark world he photographed" (i.e. we are forced to construct our sexuali- turned to the viewer, in the position of the homosexual bondage subculture — ties rather than about sex as such, and Rodin's The Thinker. never mind Mapplethorpe's exquisite about how difficult it is to work around images of flowers or his celebrated por­ and break out of these restrictive con­ We walk through this beautiful space traits of fellow artists and celebrities), his structions. What does it mean, the play drawn toward this figure in his bright work must be condemned as "prurient asks in one of its most compell ing scenes, turquoise alcove only to discover when junk" and kept off the pristine walls of that gay men who have fought so long we reach him that he is a hideous mon­ the nation's public museums which are, for the right to express their emergent ster. He crouches on the stool, eyes after all, funded by the hard-earned tax sexual ities now find themselves so para­ staring pleadingly upward while his dollars of decent (he means heterosex­ lyzed by the seeming inevitability of AIDS mouth, trapped between his legs, ual here, folks) Americans. that they can't bring themselves even to stretches to his feet. Glancing back over fantasize about sex in the present' Is Demetra Copoulos, Lost Dreams his shoulder down the hallway, the for­ This sort of knee-jerk negative response phone sex perverse, or the ultimate in merly beautiful space appears to be a to any type of artistic production that "safe" sex? Don't our learned phobias Installation art has evolved into a power­ trap for the naive. deals with explicitly with homoerotic about what behavior is perverse get in ful tool for the artist who has a comment sexual experience or even gay lifestyles the way of our recognizing what is really to make about some aspect of life but is Lawson's Temple of Learning contains a is, of course, not peculiar to Kilpatrick. It at stake here? (Kilpatrick's editorial, for not concerned with leaving behind an similar though less dramatic sentiment. is unfortunately all too typical of a nor­ instance, mentions only in passing the artifact. In Milwaukee we have been He uses the historically dated architec­ mative mainstream mentality that tries to fact that Mapplethorpe died of AIDS.) fortunate to have Walker's Point Center ture of WPCA to contain a temple to lost hide its homophobia behind the mask of How can gay men or anyone else rede­ for the Arts to provide a place for such art ideals ofthe near and distant past. While offended aesthetic sensibility. In view of fine and reshape the boundaries of their to be produced. many post-modern artists havecollapsed the increasing prevalence of this mental­ sexual ities under such conditions? In an historical artifacts into one present ob­ ity, especially now that homophobia can address to the audience reprinted in the Each of the three artists involved in this ject, Lawson physically collapses past also attempt to justify itself through fear program, Chesley emphasizes that he exhibition created a moving and some­ and present into a space of loss. The of AIDS, it is all the more important that writes his plays both to support gay times terrifying space that dealt with the sacred pyre of knowledge burns unob- plays like Robert Chesley's ferker are expression and to provoke all.of us into acquisition of knowledge and the posi­ tainably in the distance, the arches of produced and seen, ferker provides a realizing that what we desperately need tion that knowledge maintains in our classicism decay while the tools of the much-needed slap in the face, a chal­ to cultivate, now more than ever, is culture. Sandra Greuel, a Milwaukee art­ classroom lay in ruins in the doorway. lenge to the excuse of aesthetic offense. "honesty about sexual matters. America's ist and designer, examined knowledge The sheer simplicity of his installation is dishonesty about sex is costing lives." in relation to history and archeology. enough to chill the bones of anyone who The play's title refers to the gimmick that Let's hope that the rest of Milwaukee's Demetra Copoulos, a Milwaukee sculp­ is concerned about the state of educa­ structures the piece — a series of 20 art and theater community follow The­ tor, and Mark Lawson, a Milwaukee art­ tion in America. "anonymous" phone calls made by one atre X*s lead in reminding us that these ist and teacher at MIAD, both examined gay man (John Schneider plays the issues urgently need our attention. the relationship between education and In a similar manner as Greuel, Lawson crippled Vietnam vet "J.R.") to another knowledge. points out the fragility of knowledge. (John Kishline as "Bert"), calls initially famie Owen Daniel This time, however, instead of present­ made for the purpose of indulging in (Jamie Owen Daniel is a free-lance trans­ Greuel's Lost Knowledge seems like an ing a space made pristine by the phone sex, i.e. mutual masturbation. The lator and a Ph.D candidate in the excavation of the wreckage after a nu­ archeologist's tools, we are presented first few calls do indeed provide a frame­ Modern Studies program at UWM). clear holocaust. Everything is black, as with the scene in the process of destruc­ work for several elaborate and explicit if charred by an immense fire, yet objects tion. The fire still burns on the altar and boy scout masturbatory fantasies, acted are all whole and in place. Like the the rubble lays undisturbed. The archi­ with great subtlety by Schneider and PORN remains of Pompeii, the viewer looks tectural clues are obscured by the dim Kishline — their unrestrained verbal Moe Meyer into a small slice of life left undisturbed, light and distressed surfaces calling to liaison succeeded in creating consider­ Walkers Point Center for the Arts as if the participants in that life could fore the denegration of historical knowl­ able erotic tension without either actor April 28,1989 walk into the room at any moment. In edge in our society and the loss we all ever even so much as unzipping his fly. the background is an audiotape emitting experience when we forget the past. After these first sexually charged conver­ The point of Moe Meyer's performances, indistinguishable murmurs, voices that Lost knowledge is dangerous. No knowl­ sations, however, the content ofthe calls I have believed, is Moe. Porn (WPCA are present and absent at the same time. edge is even more dangerous. begins to change as the two men de­ later changed the title to Corn) was no Cynthia Crigler velop a sensitivity to each others' moods exception. Inconclusively irreverent as The installation is set up in four seg­ (Cynthia Crigler is art director of as well as an affection and a sense of con­ always, Meyer, a former Milwaukeean mented layers, each defining a different Reunions, the Magazine.) cern based not only on the sexual inti­ now living in Chicago, slinked his way kind of space; an exterior structure, the macy they have established over the through a laundering of his own self- London Tube as air raid shelter, a dress phone, but also on their common expe­ esteem. It was very delightful and ooz­ shop and an office or study. The spaces JERKER riences as gay men in the 1970s and '80s. ing, slick and lazy. Meyer gives off sting­ are defined by the objects in them; propa­ Theatre X Inevitably, J.R. calls one night to find ing flora and fauna; like Pigpen's perpet­ ganda posters, bedrolls, clothing, hat June 4-26 Bert mourning a friend in the hospital ual dirt cloud, he trails ideological, in­ boxes, books, etc. Our ability to define who "isn't goingtomakeit." The shadow flammatory effluvia wherever he goes. the spaces is based upon our knowledge Purportedly responding to the contro­ of AIDS hangs over even this relation­ of that particular time and place. We versial closing in advance of an exhibi­ ship between two men who've never Beginning the performances as a sort of piece together the history of these ob­ tion ofthe photographs ofthe late Robert physically touched. And as J.R. and Bert sex-death demented shark commenta­ jects which is ultimately a history of loss. Mapplethorpe at the Corcoran Gallery in open up to each other, the shadow tor, Meyer sat with his back to the audi­ It can never be fully recuperated just as Washington, conservative columnist overtakes them —J.R.'s last calls reach ence, smoking sanguinely, and in a voice the voices murmuring in the background James Kilpatrick claimed — in a recent only Bert's answering machine and, in less animated than Perry Como's, spoke can never be brought to knowledge. editorial that the Milwaukee fournal spite of the message that promises he'll about a series of sexually ambiguous They are voices of the past lingering inexplicably saw fit to reprint — that call back, it is clear that Bert, too, isn't projected slides. Interpreting the slides, amongst the pieces of the past. We in­ "some 'art' deserves to be censored." going to make it. he told a story which captivated the ear vestigate the events, but our knowledge Mapplethorpe's artistic vision was, the with its druggy undulations. An easy is always limited and fragmented. morally outraged Kilpatrick asserted, ferkerwas sensitively directed by Flora sex-death slink of a boudoir tale, punc­ contaminated by a "warped eye;" his Coker and acted by Schneider and Kish­ tuated by weary pornographic sighs, In an era when student loans are consid­ photography was not "art," but rather line; several scenes, like the early mas­ laughter and pointedly after-sex smok­ ered consumer debts, what is the value "prurient junk, intended to shock the. turbation fantasies or J.R.'s fairy tale of ing, it described the back alley mystic bar of knowledge? In Lost Dreams, Copou­ decent sensibilities of those who would homoerotic Utopia told to lull the fever­ sex initiation of an unsuspecting dweeb. los leads us through the halls of knowl­ come to a public museum." (The Mil­ ish Bert to sleep, that could have come edge to a frightening realization. Like waukee fournal, June 21, 1989) across as either sensational in the worst Then, wielding his presence like a sus­ the teenage terror films that have flour­ sense or stereotypically sappy in less pect toy, Meyer rose from his introverted ished in the '80s, we walk through an The "moral" outrage expressed here capable hands were presented with throne and mingled with the audience, idyllic space to confront the unspeak­ obviously has little if anything to do with straightforward compassion. Neal cooing lovey-dovey stuff and draping able. Kilpatrick's own artistic sensibil ity (which Brenard's deadpan offstage commen­ himself over various people like a cheap

12 Art Muscle PREVIEWS

suit. It was delightfully complicitous, but and criteria of meaning, much the way tographs are massive, heavy (the bronzes through geometry. the high point of his show was a video, the automobile has reinvented our en­ weigh up to 1,500 lbs.), and seemingly acting as a bridge to separate the show tire way of life. impersonal. His work avoids the emo­ Does Forg have something to tell us into two parts. A ten minute hand-wring­ tional hooks of recent expressionist beyond the spectacle of raw materials ing session with Moe in the dressing Robert Arneson's ceramic sculpture painting and the cynicism of simulation- shoehorned into conceptual boxes and room between acts, it was very funny. fackson 's Crash is an example ofthe car- divergent references to other art? Cer­ Lamenting the difficulty of pleasing any as-heroism/car-as-destruction theme, a tainly his art walks the line between an audience, wondering out loud whether prevalent one in the show. Resembling Still, Forg's exhibition at the Milwaukee ambitious intellectual program and the audience was liking him, or were an elaborate grave marker, the piece is Art Museum promises to be a difficult simple focus on its physical materiality. even awake, Meyer unloaded in nervous composed of two pedestals, on which and adventurous show, if only because Perhaps the exhibition will answer the fits and starts to an unseen confidante. are written in the language of a police it forces viewers to come to grips with question of whether this tension is Lethargically, she encouraged him to report the details of Jackson Pollock's the abstract, conceptual work that has enough. just get on with it. Returning to the stage fatal accident; the pillars are surmounted been surfacing in Europe and America in fanice T. Paine after the video, Meyer concluded his by ceramic representations ofthe wreck the past several years. After neo-expres- (Janice T. Paine is a writer and editor in performance too perfunctorily, finishing on one side and of Jackson cruising sionism, simulationism, and Neo-Geo, Milwaukee) with his signature eye-rolling shoulder down the highway in his convertible on artists have come round to recycling and shrugs. But all in all it was a rather the other. Above the pedestals is a death reinventing the ideas and the look of charm ing evening, asort of swank-sleaze mask of Pollock. Arneson works the car conceptual and minimal art of the '60s Las Vegas parlor game performed by as a metaphor for the self-destruction of and 70s. Forg — although little known one of Freud's anal types, smooth with a rebel without a cause. He laments the in America — is one of several younger GARDEN PARTY innuendo and erratic spleen. destruction but has simultaneously cre­ German conceptual artists, such as Rose- Bradley Sculpture Garden ated a monument to this type of heroism, marie Trockel and Rebecca Horn, who August 6,1989 fulia Romanski seeing almost a doomed Hector in Pol­ have come to prominence recently. One (Julia Romanski is a regular contributor lock. In the same vein, but on a com­ might also compare him to American to Art Muscle) pletely impersonal basis, is the function neoconceptualists such as Tony Tasset, of Suzanne Hellmuth and Jock Reynolds' whose "paintings" of framed pieces of Carnage. A random series of California animal hide were on view a few years Highway Patrol photos of grisly colli­ ago at UWM. THE ROAD SHOW sions point to the fact that it is not only Through August 13 the James Deans of the world who have Forg's Milwaukee show will include 12 John Michael Kohler Arts Center destroyed themselves through having a paintings on lead, 11 bronze bas-reliefs Sheboygan, Wisconsin part in the auto-culture. and freestanding slabs (which the artist refers to as "steles"), eight photographs Rollercoaster, a frantic oil-on-panel by of the interior of Mies van der Rohe's Dean Rice, is one of the h ighl ights of The Barcelona Pavilion, and a mirror. This Road Show. The huge painting covers suite of objects is conceived by Forg as a an entire wall of the gallery, with the single work of art. As Dean Sobel, assis­ panels cut to vaguely resemble the shape tant curator at the Art Museum, points of a locomotive or car-carrier semi. The out, Forg is concerned with the interac­ scene depicts a stylized, frenzied urban tion between his work and the exhibi­ freewayscape, cars, trucks, buses racing tion space, although the artist also en­ in an endless circle; there are pedestri­ courages curators to exercise reason­ Roger Welch, Drive-in: Second Feature, 1982 ans falling off overpasses, factories belch­ able latitude in the order of its display. Barbara Hepworth, Sea Form tree twigs and twine, life-size ing poison, wrecks and above all the speed which the automobile has allowed The paintings on lead, to my mind, are Masayuki Nagare's Ancestor would wel­ Someone call the doctor, I think I'm us to attain and to which it has subjected both the most interesting and most illu­ come a visit from you. Your opportunity gonna crash. Perhaps more than any us. The world Rollercoasterrepresents is minating part of Forg's work. Sheets of will come August 6 when the Bradley other technological advancement, the as all-engulfing as the painting itself. lead are stretched around a wooden Sculpture Garden opens its gates from advent of the automobile has shaped frame, forming a vertical line up the noon until 7 pm for a public viewing and America in the last century. On a per­ But The Road Show doesn't encompass middle ofthe painting where the edges picnic. sonal level, your car says what you are just the physical horror of auto-culture. meet. Forg paints the lead surface with for a large majority ofthe population— Rodney Alan Greenblat's VacationPark- simple, rectilinear shapes — squares, 6l pieces of contemporary sculpture in Dodge Ram with shotgun rack, Porsche way describes the fun fun fun having a rectangles, and bars. Gradually the lead stone and metal were carefully chosen with cellular telephone. The reality of car can be. A cartoony pastel in over- oxidizes, altering the color of the sur­ and placed on 15 landscaped acres by the car affects everyone, even those who bright, overhappy colors, Vacation Park­ face. Soft creases and folds also emerge Mrs. Margaret Bradley during the years choose not to embrace automobile cul­ way is about the Niagara Falls's, the Las in the stretched lead. The resulting spanning 1965-78. Works by Barbara ture. No cars would mean no strip malls, Vegas's and Wisconsin Dells's of the "picture-objects" evoke ideas of tran­ Hepworth, Henry Moore, ClementMead- no suburban sprawl, no parking ramp world—that is, the economic and emo­ sience and reminders ofthe temporality more, Mark di Suvero and others are on every corner of every city in the tional horror of capitalism run amok on and contingency ofthe art-making proc­ included in the collection. The sculp­ country. GM is still by far the largest and velocity and gas fumes. ess. The paintings have a physical ity and tures, many of monumental size and most powerful corporation in the world; steadfastly literal approach to materials mostly abstract, blend with the gently the federal government did whatever There are other facets of auto-culture in that is appealing. rolling lawn, manmade lake and beauti­ was necessary to bail out a crisis-stricken the exhibition: the need-for-speed fan­ ful trees to create a unique summer pic­ Chrysler. tasy of Salvatore Scarpitta's videos, the Forg's paintings clearly reference Ameri­ nic site in a city known for its parks. tired but somehow peaceful and accept­ can art ofthe '50s and '60s, with images The RoadShowis another ofthe Kohler's ing world of Rackstraw Downes' pencil that recall Barnett Newman's "zip" paint­ This year's party will also feature works minor miracles, taking an obscure con­ rendering of the Cross Bronx Express­ ings and Mark Rothko's glowing "win­ by area art students in a junior sculpture ceptual thread — the place of the auto­ way over the Harlem River. There is also dows" of color. Just as clearly, this is the contest. Musical entertainment will be mobile in contemporary art—and build­ Ruscha's middleclass lament, Honey, / New York School seen through postwar provided by Rudy Moroder, Random ing an exhibition of artistic and intellec­ Twisted through More Damn Traffic German eyes. The mute physicality and Walk and the Music Makers. Food and tual integrity around it. The exhibition is Today... and Phillip Garner's hopeful poignant materials of Joseph Beuys refreshments will be available, includ­ comprised of approximately 40 works in Chevrolounge, the trunk of a car con­ (rather than Beuys' spirituality and ide­ ing box lunches reservable in advance. diverse media, ranging from oil-on-can- verted into a loveseat for the livingroom, ology) seem to have been important for Of course, guests are welcome to bring vas and pencil drawings to ceramic and a full-scale car of wicker, lowriders and Forg, in addition to Blinky Palermo's their own picnic baskets. multi-media sculpture and installation. more. So hop on the freeway of love and more insistently reductivist approach to The standard automobile themes are head to Sheboygan. The Road Show is art. Advance tickets ($7) may be obtained at here: car as cultural (and indeed reli­ well worth the trip. local art galleries, including Michael H gious) icon, the violent nature and de­ Forg's bronzes are cast from plaster molds Lord, Judy Posner, David Barnett, Katie structive potential of cars and a society Nathan Guequierre that the artist has marked and gouged in Gingrass, William DeLind, Tory Folliard wholly dependent on them, car as self- a freely gestural manner. These impos­ and Aristoi. $8 admission will be charged definition, car as heroism and power, car ing monoliths — which some viewers at the gate. Children under 12 are free as freedom and the implications thereof, have likened to grave makers — are when accompanied by an adult. the impact and meaning ofthe elaborate more personal in feeling because of this support system auto-culture requires. tactile dimension. Forg says of his bas- The Bradley Sculpture Garden Party is a While The Road Show presents nothing reliefs that they are like faces or "memo­ fundraising event sponsored by the new in terms of themes of car-related art, GUNTHER FORG ries of faces." His architectural photo­ Friends of Art to support the Art Acquisi­ it does give a marvellous sample of the July 13-September 3 graphs, however, return to a detached, tion Fund of the Milwaukee Art Mu­ ways in which artists are dealing with the Milwaukee Art Museum almost clinical mode of vision. They are seum. Private tours of the Sculpture immense, and immensely complicated, similar in scale to the sculptures, almost Garden are also available and may be subject matter of auto-culture in America There is no easy access to the brooding 9 by 4 feet, and the imagery emphasizes arranged by calling 276-6840 a week to during the last 1/5 of the 20th century. and obdurate work of German artist the clean lines and often-forgotten ele­ 10 days in advance. What is interesting is the way car-art has Gunther Forg. Forg's paintings on lead, gance of high modernist architecture, invented its own combinations of media bronze sculptures, and large-scale pho­ recalling its Utopian ideal of better living Therese Gantz 13 PERFORMANCE FUTURES

By Mark Anderson that some art just doesn't fit the exist­ Laurie Beth Clark's Five of Swords, at ing molds. To discuss certain kinds of WPCA, was a performance piece that performance work, you must be able employed live performance mixed to use the dance grid for a while, then (This is Mark Anderson's last regular with taped audio and video, to deliver shift to the theater grid, laying the installment of Performance Futures. a lot of information in different ways. opera grid on top of that, removing He will, however, continue contribut­ Text was fed to us almost non-stop, them both in favor ofthe science grid ing periodically to the magazine.) starting with lengthy program notes, —always ready for a chance interrup­ then coming out of mouths, mostly tion by the pedestrian action grid. live, sometimes on tape. The various Performance emerged as an art form modes of delivery and performance different from theater, dance, film, If the work takes place in a theater, were part of a complicated structure poetry, music, sculpture, visual and addressing an audience—should that of communication concepts which I any other kinds of art — but con­ automatically invoke theater issues, was occasionally able to glimpse. One nected with all of those forms in some like good/bad acting? If you move ofthe challenges of this piece, for the way. The recognizable surface of a around in some other-than-pedestrian audience as well as the performers, performance might be comprised of way, does that mean you are a dancer? was changing back and forth between concrete elements from any of the If I choose to use these various per­ acting and being (which is as close to Mark Anderson other forms, and the inner force of a formance modes (dance, drama, etc.), your natural self as possible, given performance derives from the non- am I to be held responsible for doing that you are standing in front of a tional. The gaps were not so bad as to concrete essence of all of the forms, them right? If I don't, what does that bunch of strangers who are looking in impede appreciation of the work. which is human presence, thought mean? Will I get in trouble? Of course, your direction); from playing a char­ and action. Other related terms are if I want to use those things for what or acter to be ing yourself. Shifting gears In Fluidarity, Jon Erickson was work­ "interdisciplinary," suggesting the how they can communicate, and if I like that is a difficult thing to do, and ing with film, audiotape, music, spec­ dissolution ofthe boundaries between don't do them well, will the communi­ not all of the performers were up to tacle, movement, costume, props and art forms, and "crossover," indicating cation happen? the task. More work was needed to very little text. In his previous work a that the artist may be based in one dis- clarify and strengthen those distinc­ lot of the action would be accompa­ cipline, but working in others. When an artist uses certain elements tions so the effect ofthe ideas could be nied by words, and in this one, the of performance which we can point to felt. actions were still there, but the text Theater/performance scholar Michael and say — well, now she's playing a wasn't. The absence of his verbal character, or now he's dancing—but presence put his physical presence Kirby was recently in Madison, speak­ PaulKrajniak described his piece, Knee into the foreground, which made him ing on a panel. When asked to com­ that person isn't really skilled enough Deep in Atlantis, as a "theatric work." ment on future trends in perform­ to use them properly, how should we That combination of words is a per­ work in a different way. There was a ance, he said: look at that effort to communicate via fect name for Krajniak's work, and lot of silent movement and theatrics these devices or conventions? It may could be applied to others' work as that suggested significance, but "About the future of theater, of per­ be bad acting, but it might also be in­ well. It establishes a subtle distinction weren't clearly readable, because formance, of where we're going, the tentionally bad. And then you ask between the context and what hap­ Erickson lacks the facility with non­ future will have arrived when we can't yourself, "If so, then why? There might pens therein: it happens in a theater, verbal movement-based work that he use the word "crossover" anymore. be a reason. Then again, there might it is theatrical, but it is not a play in the otherwise commands in his verbal That is, the idea of crossover implies a not. usual sense ofthe word. He employs thinking and performing. Stretching knowledge of the boundaries or the different modes of acting and per­ his boundaries like that was a coura­ limits ofthe genres ofthe categories I have a handful of recent perform­ forming, is meticulously aware ofthe geous thing to do, and it had a curious between which we're crossing; that as ances in mind as I think about these stage picture, and understands how effect; it gave this piece a vulnerability long as we're thinking of crossovers, things. Each piece is the work of an time passes in a theater. Unfortu­ that isn't always present in the more we're thinking of categories, and we individual artist (with a certain amount nately, there were some technical verbal work. I also think the resulting know what they're between. And so of semi-collaborative participation of problems that created a layer of infor­ performance was probably not as perhaps the future, at least the future other artists), using elements from mation that I had to work to ignore. clear, informationally, as he would I would look forward to and wel­ more than one discipline in which the But the shifting levels of atmosphere have liked. come, is a future where we don't think artist might not be particularly skilled. and communication, and the com­ that way anymore, and we've finally In each of these pieces, the crossover plex information that was intention­ I think that experimenting is impor­ outgrown it. We're moving in that di­ brought up some good stuff and some ally offered, kept me rapt and happy. tant, as well as refining specific skills. rection, and hopefully, we'll get there." bad stuff. When I look at the work as It all points toward some very exciting an exercise in aesthetic issues, I some­ River of Ghosts by Thomas Gaudynski things to come in the area of perform- As performance is evolving so must times find it difficult to see a kind of used the theater atmosphere to ad­ ance/theater/dance/music stuff. It's the basis for performance criticism totality ofthe whole thing. I see things dress things behind the theater mask, my belief or hope or something that evolve; like any art form, it requires a like good idea, bad acting, great cos­ including technical aspects of pro­ all things are not yet known, and that specific kind of analysis. Some people tumes, bad dancing, bad concept, duction, and personal aspects of per­ a surprise might occur as the result of resist acknowledging performance or beautiful frames, nice camerawork, formance in the heart and mind ofthe some effort that would be otherwise interdisciplinary art as a valid form, and so on. But I like to include in the actor. For the most part, the different regarded as a pointless enterprise by and call it theater or dance or comedy discussion a sense of the artist's pur­ devices and performance attitude those who prefer to anticipate things —whatever it most closely resembles pose, an understanding that some­ going on in this piece worked to­ to death. I remember reading about —and proceed to criticize it based on times things go wrong and the possi­ gether quite nicely, but not all of his the young Thomas Edison who, fol­ their knowledge of the more estab­ bility that there might be more going performers were skilled enough to lowing a theory he had, mixed worms lished form. It is insufficient to simply on in this work than is dreamt of in my work outside of their usual area of and water and fed it to someone. As lay a grid of dance concepts over a philosophy. I can't just look at this strength. In terms of acting, tempo­ it turned out, the potion didn't enable performance art work and discuss it as stuff as art, as a combination of issues rary attitudes were played when it the subject to fly, but it at least went a a dance. It is important to bring the and execution. I need to regard it as seemed a full-blown character was certain distance towards clarifying in knowledge of other forms into the communication of some sort, even if it called for. That could have been a Edison's mind one ofthe many differ­ discussion, but with the awareness doesn't appear to be "working." choice, but I don't think it was inten- ences between humans and birds. >**»•

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By Julia Romanski and subtext of human beings. Isn't it MUSEUM secondary to life? I was seventeen years old when I first saw a film by John Cassavetes. Rest­ Cassavetes never compromised his less, on the verge of rejecting an ab­ vision. Every movie he made intended surdly ugly family life, my nights lapsed to refine the same point of view. Glo­ in an undertow of thoughts about ria, 1980, Columbia, at first glance a leaving the small town where I lived. story about a Mafia conflict, is much It was a town too mired in preemptive more. The title character, played by values, the kind of town that eats its Gena Rowlands, is an ex-gun moll, young. I recognized what that town theformecgirlfriendofaheavyweight was, but I could not articulate an alter­ mobster. Having left that world be­ native to it. Though I sensed bigger, hind, she lives the straight life along deeper living was possible, I had little with her cat. When a neighbor discov­ or no evidence to prove my instinct ers he's at the top ofthe Mafia hit list, right. I had my thinking, but I was too he turns his son, along with an in­ young, at seventeen, for that to be criminating bit of evidence, over to real. Gloria, who doesn't like children and fears becoming entrenched with the One night I turned on the TV. I sat on mob again. That's almost a commer­ an old couch which was sway-backed cial plotline, at least it was nine years in the shape of my father. A thousand ago. But the depth of the movie is drunken n ights had hollowed his form devoted to the conversations which there. He was gone from that house take place between Gloria and the and he would be dead in less than a odd child whom she is forced to pro­ year, but that night, twisting myself tect. It's about the way words can save down into the musty depression left you where guns can't, and the way by him, I saw that he had chosen our guns apparently are necessary when no one listens. $5 off any purchase of $20 or more. dim town because the exile in which Expires August 15, 1989. he preferred to live was very possible there, but what enabled him to breathe In spite of directing Big Trouble in Additional 10% members' discount will be honored. 1985, stepping in to replace another Hours: T, W, F, S, 10 - 5; TH, 12 - 9; SUN, 12 - 5 only suffocated me. I watched a pic­ ture lurch its way onto the TV screen. director, Love Streams, 1984 (Cannon), It was Minnie and Moskowitz, a film was Cassavetes' true final picture. He by John Cassavetes. Arrested by what wrote it, directed it, and starred in it I saw and heard, I jerked free of my with Gena Rowlands. Using his own preoccupations, for here at last was a home as the principal location, cast­ piece of the evidence for which I had ing some ofthe young actors who had Milwaukee Art Museum been searching, in the form of a movie, by then come to think of him as a mentor, and writing a story which cast 750 N Lincoln Memorial Drive 271-9508 of all things, but a movie which was about people knowing and talking himself and Gena Rowlands as brother about what I only suspected, but had and sister, Cassavetes revealed him­ never found words for. self in relation to this vision more directly than he had in the other films. John Cassavetes died on Feb. 3 of this He and Rowlands were married for 35 TERESE AGNEW year. He was sixty years old. He made years. The unilateral chemistry which eleven films that were truly his, di­ ran between them was extraordinary, Classical Greek Sculptures rected several others, and acted in an energy of palpable force and grace. Transfigured as Transformers many more. Minnie and Moskowitz It shines in Love Streams, private yet was his sixth film. Maybe the remain­ very open, a gift for those of us who der of his films will be released on wanted to know everything about video, made newly viable due to his investing as deeply as possible in our SONJIYARBROUGH death, but at present only two of them, single lifetimes, rather than fragment­ ing them irreparably with time-wast­ Paintings, Drawings Gloria and Love Streams, are avail­ able. ing dreams of a thousand others we would never have. Thru July 31 I've heard people say that you either love John Cassavetes' films or you Watching John Cassavetes' films was in a way like receiving letters from Open Gallery Night July 21, 6 to 9 p.m. hate them. I've heard people compare him to other directors and writers in someone who lived in a country where wild variation. His reputation was in I wanted and planned one day to be. turns that of an intractable iconoclast, I found uses for those films. They a maverick who bit the hand that fed were very living things, so active, dean iensen gallery him, a genius committed to the purest subtle and precise, so encouraging of realization of his vision, a trouble­ the presence of meaning that it simply 217 N. Broadway, Milwaukee, Wl 53202 maker on the set, an actor's director— ceased to occur to me that he would (414)278-7100 Tuesday - Saturday on and on. Cassavetes always would ever stop making them. It is not poor be labeled, because he angered the grammar which has me refer to them industry of which he was a part. When in the past tense, for in some sense he found that he disliked the Holly­ they are over. What those films be­ wood system, he continued to work come now, without his presence as in it as an actor and sometimes direc­ their living anchor, their actual em­ tor, took the money he earned, made bodiment, I'm not sure. Already they and distributed his own films, found a seem different. Now they must con­ steadfast audience for them, and pre­ tain a just portrait of John Cassavetes vailed. Simply said, he depended upon as well as his vision which they repre­ only himself for his power, the conse­ sent. They feel a bit like orphans, quences of which left him no shortage burdened by the identity which gave of detractors. Yet his films prove that them existence but can give them he withstood them all. nothing more. In the real world they can stand on their own, but in some I think it depends what people are way they do depend upon acknowl­ curious about, what they need, what edgment, just as he and all of his they are listening for, as to whether characters did. they will love or hate Cassavetes' films. Debates about the style and form in The other films written and directed which he worked ring hollow in the by Cassavetes: (some of these run on face of what he presented: vital, sharp late-nightTV) Shadows, 1959; Too Late exposures ofthe endless transactions Blues, 1961; A ChildTs Waiting, 1963; and interactions which take place Faces, 1968; Husbands, 1970; Minnie between people. Somehow, to dis­ and Moskowitz, 1971; A Woman cuss 'style' and 'subtext' in a Cassavetes Under the Influence, 1975; The Killing film is very nearly to discuss the style of a Chinese Bookie, 1976; Opening Night, 1978. -** 15 EAR MUSCLE A. HGUBERBQCK^i INC presents ^ Calliopes & Clowns Silks, July 3,1989 Screens, and Silver August 19, August 21,1989 to 1989 September 30,1989 Opening Reception August 25,1989 5:00 p.m. - 8:00 p.m. Art Altenburg 230 W. Wells • Ste 202 • Milw., Wl 53203 • (414) 276-6002 Photo by Dennis Cary

By Nathan Guequierre bar, and grab another Old Style himself. Art has forty-some concertinas behind the bar, one in each key as concertinas S E P T E M E R (another similarity to the harmonica) are Everybody Polka! Wisconsin's only limited to one key each. He is well- registered concertina bar is waiting to 4i4*>*£#w dfo&fa */ade<$: versed in a vast repertoire of polkas and 0 0 0 0 stomp on your summer doldrums with waltzes. After the last amateur had re­ Minnesota Style, Chicago Style and eve­ tired the tuba to its corner one Tuesday DON'T MISS rything from waltzes to jazz in between. evening, Art treated us to the "Faded Art Altenburg's Concertina Bar is in full Rose Waltz," one of his favorites. 3/4 swing to Polish Hop your troubles SLEEPLESS PHI VI right out the door. The Concertina Bar, A different polka band plays every tucked into an out-of-the-way corner of weekend (Thursday, Friday and Satur­ the South Side on S. 37th and W. Burnham day nights). Weekend shows are defi­ streets, has been packing them in for a nitely bigtime, with bands coming from decade, and continues to do so today as far as Alaska to take the stage for a despite the closing of the two factories crowd of regulars and regular folks from across the street (employing a total of around the world. All the virtuosi have A PERFORMANCE BY MARK ANDERSON almost 2,000, greatly helping the lunch played at the Concertina Bar. All the big and happy hour business) within the last names have let their squeezeboxes wail, ME H 0 F F M A N - RIP T E N 0 R • DIANE V A N D E R H E I two years. and Art has a photo of every one of them ALANA N D E R S 0 N - JIM R I S C H • AND OTHERS LIKE T H E M on his bulletin board -- dozens of polka Milwaukee is a polka town. As vehe­ bands holding their instruments, smiling PITMAN THEATRE ALVERNO COLLEGE 382-6044 mently as the Greater Milwaukee Com­ in the parking lot that adjoins the bar or mittee might want to deny (or at least on the stage. The joint really starts submerge) that fact in favor of a slick, hopping around 10 o'clock, as the polka innovative and forward-looking image, fans fill the bar with the sound of one- this city was built on the bellows of an two-three-hop! The Concertina Bar does accordion. And how many cities can indeed have a reputation outside ofthe claim that? And accordions are not re­ city, and every Saturday n ight sees people stricted to polkas and waltzes — the from Europe and around the country LE PEEP'S MENU Argentine tango requires one, and they cutting a rug. If you don't know how to (or a concertina) are an integral part of polka, you'll want to anyway after a song the folk music of many European cul­ or two, and there is always someone on IS COMING OUTOF tures. The polka, however, runs some­ the dance floor willing to take a turn with where deep in Milwaukee's blood, and a the uneducated. Between sets, Art likes city that forsakes its past for some new to keep things lively with the "Cavalier ideal becomes very vacuous indeed. The Polka" or any number of other favorites. IT'S SHELL. squeezebox is a proletarian instrument. : # While it's wonderful having a reputation for serving Like the harmonica it hits a chord down Tuesdays, the other night Art has live ' some of the most interesting and delicious break- inside. It is an instrument to which we all music, are another story. Tuesdays are y^ :,^ fast dishes around town, we thought you somehow can relate, one that is part of amateur night, "to give the unknowns a ••*• might like to know our new menu offers the collective cultural unconscious. chance." Amateur night draws a slightly •^^'M*^' a lot more. smaller crowd than on weekends. Some Our four heaping salads, for example, feature chicken, tuna, sea­ Art Altenburg was weaned on the con­ of the same people who tore up the food and snow crab, or veggies and come complete with tomatoes, certina, learning to play before he was dance floor on Saturday find themselves cucumbers and grated cheese, and specially selected dressings. seven years old. "How I got into it?" he on the other side of the footlights on A knoll of freshly sliced chicken combines with a cache of says, "that's a long story..." He had a freshly sliced mushrooms, green peas, a touch of chives and Tuesday. Amateur night has not only Wisconsin white cheddar in our "Proud Bird" sandwich. And we polka band for years, playing all over the seen polkas but jazz and blues as well, offer seven other sandwiches, just as original and just as tasty. state and midwest and ten years ago he and there is even a tuba at the back ofthe Le Peep. We came out of our shell. Now you moved to Milwaukee from "Mosinee... room for open-mike-oompahers to test come out of yours and visit us soon. that's near Steven s Point" and opened their metal. Art is committed to the the bar, to become an integral part ofthe tradition of the concertina and accor­ city's still-thriving concertina/accordion dion in Milwaukee, and amateur night is scene. The Concertina Bar is a South his way of assuring that "anyone who Side institution with all that it implies. wants to give it a try" can have a chance Low-key and friendly, it functions as a to emulate the big boys and girls who do neighborhood tavern as well as a city- their polka thing on weekends. wide draw for the polka set. The lights are dim in the long building, and drinks The Concertina Bar is truly one of are cheap. The jukebox is entirely polka, Milwaukee's treasures which deserves with the exception of one Hank Wil­ to be nurtured. Most of the crowd is liams tune, and the bartenders have been older, but Art and his crew of bartenders known to give patrons quarters to dump are always ready to explain and demon­ into it when things get slow. There is a strate the finer points of polka music and stage at one end, with a dance floor the accordion. Even the most dour running half the length of the narrow among us can't help but smile a little Two locations room. When that big polka sound gets when a master begins to play that howl­ 250 E. Wisconsin Ave. • 3900 W. Brown Deer Road people moving, it's not uncommon to ing, vivacious squeezebox. So this Open M-F 6:30 a.m.-2:30 p.m./Sat & Sun 7 a.m.-2:30 p.m. overhear one spry old gent or another summer, bring your lover and your complain that "somebody spilled their 273-PEEP grandmother (who can probably teach . damn beer on the floor — I can't get a you a thing or two) over to Art Altenburg's grip," and nonetheless twirl his partner Concertina Bar and shake your boote a LE BREAKFAST LE BRUNCH LE LUNCH to the other side of the room, up to the little. ***< 16 Art Muscle 4 */»&&*&- t BEST MUSICAL NEW YORK DRAMA CRITICS AWARD 1975 ANTOINETTE PERRY "TONY'AWARD 1976 PULITZER PRIZE FOR DRAMA 1976 CONCEIVED.CHOREOGRAPHED AND DIRECTED BY MICHAEL BENNETT

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When we think of design styles of the 1980s, a chrome and vinyl chairs and sectionals originally rather large blank comes to mind. Just look at used in doctor's waiting rooms, garages or offices. current versions ofthe automobile—uninspired at Dating from the mid to late '30s, this furniture was best Grasping at some high-tech, sleek line, but sturdy and affordable with trademark tubular not aligned with any true aesthetic value. That goes chrome arching arm rests and frames. It's rather for the toaster too. No soul. Things like telephones, stark, but elegant, with flowing lines. Alexander clocks, furniture (try finding something even likes it because it's "neat." He was naturally drawn vaguely interesting in a department store), dishes, to the clean, simple lines of the industrial deco lamps — all sadly without a cause, without an style. His house radiates that same feeling of preci­ attitude, without a look. Our environment presents sion, geometry, organization. You know when a bland landscape of dubious, hesitant, disposable Alexander puts a lamp in a corner, it's there for a artifact. When you think of President Bush and the reason. And when he greets you at the door wear­ renewed fervor for the flag, when you think of ing ripped jeans, there's something intentional about Swatch, you can understand why there's a taste the rips. Afterall, he services computer hardware crisis in America, at least at the mass market level. for a living. As a collector, it's not so much the era that Alexander romanticizes or seeks to touch by surrounding himself with its objects, but more a love of the objects themselves, cut out of history, standing on their own in 1989, as beautiful as they ever were, functioning perfectly in any context. Room after room, the de­ tails are abundant. You can imagine Al­ exander sitting there, holding in his palm his 1920s Walter Dorn Teague camera or staring at his Teague funnel bed lamps, or his Manning Bowman tea set (bake- lite handles on chrome bodied, triangu­ lar sugar bowl and creamer — painfully articulate But things always look better in retrospect. So go design, brazen angles). rent a Thin Man movie. Make a shaker full of martinis and step into the 1920s and '30s when this Simplicity, unbroken lines, pure colors, contrasts country seemed to recognize, even celebrate, the in light and shadow, honesty and directness in value of a fine line, when style permeated nearly materials. every household object, from the Electrolux to the ice bucket. Before he was interested in deco, Alexander col­ lected antique radios. It started when he began Nate Alexander is the man to see in Milwaukee researching and repairing one old radio he had about art deco. His well-stocked booth on the third acquired. It progressed to weekends devoted to floor ofthe Walker's Point Antique Center, 1134 S. hunting new ones. It grew into Alexander having to 1st St., contains surplus and duplicate pieces that shelve over 100 old radios in his house and even­ have spilled out of his eastside home. tually overflowed into a booth at the Milwaukee Antique Center. This interest naturally broadened Alexander has been collecting since the late 1970s into other '20s and '30s objects and he traded all the what he calls "Industrial modern," the American radios for the gleam of tubular chrome. version of art deco popular in the 1930s. Authentic art deco, spawned in France on the heels of Art Alexander still actively hunts new deco pieces. He Nouveau around 1910, didn't become popular in says he's given up chasing rummage sales and America until the 1920s and remained an influence prefers larger flea markets, such as one in Kane through the late 1930s. It was in America that this County Illinois every month or the bi-annual O'Hare previously rather highbrow, elitist European style Hyatt Regency show. Alexander was aware, how­ was brought into mass production. Influenced by ever, of a local estate sale that had advertised two avant-garde painting, cubism, constructivism and deco torchiere lamps in the newspaper. His eyes Italian Futurism, deco had a fertile heritage that in are open. When Alexander purchases pieces, they This article and America was streamlined and refined to fit a "ma­ are a far cry from what you will see in his booth. He chine age" slickness, thus called Industrial Modern. believes in restoring objects to their original condi­ the following on Yet vestiges of fine art disciplines remained in tion. If it can't be shined to perfection, he has the Woodlot Gallery much ofthe industrial modern wares. From clocks furniture re-chromed and reupholstered before to smoking stands you can still detect the geometric he'll display it. He says that many buyers are not are the start of a forms and cubist rhythms. In no other era did the serious deco collectors, but vintagers whose tastes avant-garde collide with the decorative arts and are eclectic. They buy what they like, despite the new Art Muscle work its way into so many middleclass households. designer or origin. This audience prefers to take a piece home and put it directly in their living room, feature that will All this in the middle of an economic depression, rather than spending a few months fixing it up. He occasionally prohibition, the New Deal, the Jazz Age, the early sells a good percentage of his pieces to people years of film. from Chicago, and says, overall, it hasn't caught on showcase various in Milwaukee in a big way. "It's too austere for a lot Alexander does not seem like your typical ob­ of people," he says. sessed, pack-rat, bargain-hunting collector. The linearity of his prairie-style home built by Herman Strolling through Alexander's maple Russel Wright collectors of fine W. Buemming in 1911 complements the sparse and bedroom the power of simplicity is evident in and decorative careful display of his thoroughly deco possessions something as basic as unevenly spaced lines that (except for one contemporary couch in the living delineate the drawers in the dresser, instead of arts room—a minor lapse). He has an eye for the right balanced lines. combinations: a black lacquered coffee table with one wood-lined, metal bowl made by Art Dekco "I like neat things," Alexander says again in his Co. (flea market) or a golden oak English buffet cool, understated dialect. And you know that once (found at a yard sale in Elgin, 111) with a carefully po­ upon a time there was a population who really Story sitioned Norman Bel Geddes' cocktail shaker on believed that beauty in the home was essential to top (rummage sale, $5). psychological health. Cocktail hour has never been By the same since. «» Most of Alexander's furniture is the streamlined Debra Brehmer 19 Janet and Christopher Graf * Ribbon IV " Stephen Fischer W00DL0T GALLERY

because they owned a condominium in Taos for 10 years.

The art does not end at the front door, but extends into To get to Woodlot Gallery you drive north on 1-43 to the house, which Mrs. Graf includes on her tours. " We want to Terry Andrae State Park, exit on County Trunk V. You Three framed mixed media pieces by Christo reveal his then take a meandering route to the home of Janet and plans for wrapping the trees along the Champs Ely- promote the Christopher Graf in Black River near Sheboygan. Only sees. A handmade tile ceramic floor created years ago an inconspicuous wooden post with a brass W mounted by Joel Pfeiffer (the clay stomp man) with the assis­ on it welcomes the newcomer to the heavily wooded tance ofthe Grafs children lines the front hall. Smaller idea of living site. 3-dimensional pieces and maquettes by some of the artists whose monuments appear outside are also with art - not The Graf s opened their three and one-half acre yard displayed. They have a wall of Durer and Rembrandt along Lake Michigan to the public about one year ago, etchings and a wall of Impressionist work by Picasso, consigning it and named it Woodlot after an early print they owned Braque, Renoir and Matisse. Their bathroom contains by Warrington Colescott. The sculpture garden pres­ an Arneson ceramic self-portrait and a large Philip ents close to 60 pieces (all for sale) by 15 sculptors, Pearlstein nude. Just outside sliding glass doors is a to a museum including Milwaukee artist/architect Bob Curtis, humorous piece, fubilee /Z£representing a male and Mequon sculptor Stephen Fischer, Santa Fe artists female figure in an abstract, bird-like pose by leading where you Frank Morbillo, Donald Wright, Carol Savid and Robert British sculptor Lynn Chadwick. Jan quotes the artist Weaver; Illinois artist Ed McCollough; a collection of from his recent biography, "Don't over-interpret. I may can't interact cast bronze pieces by Portuguese sculptors Zulmiro have begun with certain ideas, but the final ideas are and Jorge Ulisses ("We like to say they show in Barce­ related to, in fact dictated by, the materials them­ lona, Oporto and Sheboygan," Jan Graf says); and selves." Crossing the patio and heading down toward freely with it.' Florida sculptor Mark Anderson who spent three the beach is the only site-specific piece. Splashing months working in the Kohler artist-in-industry pro­ across the crest of the last dune, Chicago sculptor gram. Virginio Ferrari's, Tumbling Tumbleweeds, is a playful series of stainless steel circles and half circles curving The Grafs, who have lived at Woodlot since 1962, like silver waves. began collecting sculpture about 12 years ago. "It grew out of our interest in the graphic arts, we had already been collecting prints and were really inspired by the artists," Jan commented. Chris, a urologist who prac­ tices in Sheboygan, added, "It was a natural extension. We had the setting here and we wanted to fill it up with art. Our children are gone and I'll be retiring in a few years, so it seemed like a good thing to do but we didn't want to compete with any of Milwaukee's fine galler­ ies. With large-scale sculpture, we've found our own niche." They previously collected Old Master etchings, then later, Impressionist and Cubist work. About three years ago they realized they wanted to share their enthusiasm for art with the community and so decided to open the grounds to the public (call first to make an appointment, however). "Now we prefer people to come when they want to and take time to really look at the work. Touch it, explore it. We want to promote the idea of living with art — not consigning it to a museum where you can't interact freely with it." The Grafs share in all decisions as they select new work. "We work by concensus," Chris said, "and when The Grafs definitely live with art. Lining their driveway it comes to selecting a spot to place the art work, we is the startling silver aluminum of Split Column (Vir- invite the artists to participate in that process as much ginio Ferrari) which stands as a sentinel, indicating that as possible." They attend the Navy Pier Art Exposition this is not your average household. You then come every year where they often discover new work, but upon one surprise after another—a sinuous ribbon of they also seek out sculptors on their travels. Once they corten steel doubled up like a monumental inch worm, discover an artist, they prefer to make a personal its deep rust suspended against the evergreens (Rib­ connection, visiting artists in their studios whenever bon IV, Stephen Fischer). Then situated next to the possible; when artists are visting the Kohler to do driveway, Tea Bowls, an elegant yet simple piece by installations, they often stay at the Grafs. "Each artist is Santa Fe artist David Anderson who recreates and utterly unique," Chris said. "It is such an inspiration to Story and Photos enlarges ordinary objects making them appear to be meet the artists, see their lifestyles, their involvement waiting for the unexpected rituals of giants. This piece, and total dedication to the mysterious process of according to the artist, "is about serenity," an image creation." "Mysterious, but real," echoes Jan. borrowed from the Japanese tea ceremony, based on the artist's study of Oriental culture and meditation. To make an appointment to view Woodlot, call 1-458- The southwest is well-represented in their collection 4798. Don't forget to ask for directions. **r 20 Art Muscle THE GREAT SOPHISTI-KIDS CONVERTIBLE SALE

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21 hen the onslaught of ethnic festivals Blvd. is for those who really want their art to jump out England. starts getting you down and you can't atthem. On viewforthe summer is a group show of 150 stand the thought of one more parade, holograms. Hours are 12:30 to 5 p.m. Wednesday- Edge of the Looking Glass also has 6,500 square it's time to get out of Milwaukee for a Sunday. (312) 226-1007. Admission is $2.50. feet of gallery space where a group show is currently few days. Here's a somewhat random on view through August 13. Every Thursday at 10:30 guide to interesting activities in Chi­ p.m. is open mike for performance artists and poets. cago this summer. On weekends there's a full bar and free food. The bar gallon stays open until 4 a.m. Their weekend LateNight series TRANSFORATION: Either drive or take Check out photographs by Annie Leibovitz and Allen ($5 admission/$3 if you don't wear black) pairs a per­ the Amtrakfor $22 roundtrip and take cabs and busses Ginsberg, through July 22 at Catherine Edelman formance art band with an ethnic music group. The once you're there. Less hassle than parking. Gallery, 300 W. Superior St.; the Michael Paha instal­ schedule includes: July 21, performance artist Greg lation at Perimeter, through Aug. 30, 750 N. Orleans; Dendian and the Perc band; July 22, performance art accommodations^ Cindy Sherman through Aug. 4, Rhona Hoffman band Mordaut Chuckle and Uppers International High Anything near downtown is expensive If you have Gallery, 215 W. Superior St. (closed Sats in Aug); Life Band of Modern African Music; July 28, Culsea cash to spare try the new Hotel 21 for $129 a night Subversive Axe: Myths and Truths oftheApocalpses, Flower Show and the Ukranian Ensemble; Aug. 4, (weekend rate) per person. This new hotel has cd through July 30, Axe Street Arena, 2778 N. Milwaukee, Pasha and Faces of Emotion; Aug. 5, Fallen Pieces players and Robert Mapple­ and Greg Taylor (from thorpe photographs in its Madison - Indonesian, elec­ rooms. For $162 a night you tric music). get parking, breakfast, a fruit basket and one movie rental. To dine, Looking Glass The most inexpensive hotels gallery curator Chris Muray we could locate were the shared a few of his favorite downtown Best Western Inn, eating establishments: 162 E. Ohio (a few blocks from Angelina's on Broadway the Contemporary Art Center), and Irving Park, he says is $65perperson (312) 787-3100 an "undiscovered" intimate or the Barclay Chicago, 166 and elegant Italian restau­ E. Superior at North Michigan rant where Francis Ford Avenue, $99 for two people for Coppola eats when he's in a mini-suite 800-621-8004. town. Muray says it's out­ standing. He also suggests A guide to hot spots ad coo! places in th Findy City Thai Town at Clark and ^V R, T Belmont, the Ethiopian Vil­ The big news is the Warhol lage at Addison and Clark retrospective at the Art Institute of Chicago this sum­ and Indian Standard on mer through August 13. This is the kind of exhibition a group show with a performance Saturday, July 29,8 Belmont. one can easily write off... "soup cans and Marilyns, I've p.m. $5 admission. seen them a million times...," but this is also the kind of ^/< exhibition that reveals Warhol's depth and nuance in work that dates from 1928 to 1987. There are plenty of For all the Len Jenkin fans Theatre X has cultivated in Chicago's MoMing Dance Center presents ongoing suprises in the 250 pieces presented. Advance tickets the past few years with its two productions, Poor Folks series of bcal and national modern dance groups. Al­ ($5) are recommended Pleasure and A Country Doctor, the Raven Theatre, though things have slowed down this summer, they will and are available at all 6931 N. Clark St., (312) 338-2177, is doing Jenkin's be showcasing Dance Expo '89 Aug. 4 to 6 featuring Ticketron outlets or by American Notes through July 30. This is a comically four established Chicago choreographers: Charlie calling Teletron at 1- twisted portrait of a rural community that has slipped Vernon, Amy Osgood, Mary Ward and Timothy Buck­ 800-843-1558. through the cracks of mainstream America. Tickets are ley. Each will present new work resulting from summer $10 with 8 p.m. shows Thurs-Sat and a 7 p.m. show workshops they taught. Call (312) 472-9894 for infor­ Take in a free lecture Sunday. Free parking and air conditioning are nice mation. relating to the Warhol bonuses. exhibition: "Success is a Job in New York," at Meanwhile, the play's director, Michael Menendian, Ravinia OHO 8 p.m. Aug. 8 by Donna recommends a few nearby eating establishments to There's nothing like a summer evening outdoors at De Salvo, an inde­ complete the evening: Las Palmasfor great Mexican Ravinia with an extravagant picnic (bring crystal wine pendent New York at 1773 W. Howard. Picasso Cafe for diverse pasta glasses, fruit, pate, martinis and a candelabrum for the curator, oral 2:15 p.m. types of things, "It's like an east village restaurant," full effect) and quality classical music. Ravinia is be­ lecture on July 21, 25, Menendian says... 7233 N. Sheridan; Leona's Daugh­ tween Milwaukee and Chicago in Highland Park. Their Aug. 3 and 11 in Price ters, 6935 N. Sheridan (all kinds of food, popular) and summer schedule includes daily performances. Call Auditorium. The film Sherlock's Home, 7121 N. Clark, with an outdoor beer (312) RAVINIA to receive a full schedule. Tickets may center at the School of garden and live jazz. be ordered by mail, purchased at the box office or the Art Institute will screen 13 films by Warhol through­ charged by phone. out the summer. Admission is $5. Menendian also suggests several other Lawn tickets range theater productions: from $4 to $6. Here are At the Museum of Contemporary Art, 237 E. Ontario, Former Chicago cartoonist, Lynda some highlights of this summer are two retrospectives: Arnulf Rainer and Barry, who now lives in Seattle, is the upcoming perform­ Peter Saul. Rainer is a major Viennese artist. His work impetus behind The Good Times are ances: Philip Glass, ranges from color field painting to performance body Killing Me, which is an adaptation of July 17; Kronos Quar­ works. The show includes body paintings, crosses, Barry cartoons presented by City Lit tet, July 24; jazz com­ over-paintings, death masks and a crucifixion series Theatre Company at Live Bait Thea­ poser Anthony from the 1950s to the present. Peter Saul's work is ter, 3914 N. Clark St., through July 30, Braxton, Aug. 28; politically concerned. The 30 paintings represented 8 p.m. Thurs.-Fri/6 and 9 p.m. Sat./ Smokey Robinson, date from 1960 to the present. Often associated with and 7 p.m. Sun. Tickets are $12 to July 21; Tchaikovsky/ the Chicago Imagists, Saul presents social and politi­ $18. "I haven't heard a bad word about Mozart program by the cal dilemmas with humor and the perspective of an it," Menendian said. Chicago Symphony, underground comic artist. (312) 280-5161. July 28; Zukerman El Salvador has also been a hit in plays Brahms, Chi­ Chicago. Local critics liked the pro­ cago Symphony, July other museums duction, but didn't like the script. The 29; Sarah Vaughan Perhaps one ofthe lesser known delights and architec­ run has been extended to Aug. 13. It's and Ramsey Lewis, tural wonders in the Chicago area is the McDonald's about a group of journalists who fight Aug. 1; Beethoven by Museum at 400 N. Lee St., Des Plaines (a near suburb time and ethics in transmitting a story Roger Norrington's of Chicago). This is Ray Kroc's original restaurant — on American involvement in El Salva­ London Classical Play­ the very first McDonald's — totally preserved and dor. ers; Tchaikovsky dating to 1955. There are even '50s cars parked in the Steppenwolf Theater Co., 2851 Spectacular, Aug. 13. lot in front of it. Open Tues. through Sat. 10-4 and Sun. Halsted St., 8 p.m. Fri./5:30 and 9:30 Concerts run through Photos by Jim Prim, Chicago 1 to 4. More than 100 people a day tour this landmark! p.m. Sat 7 p.m. Sun. 8 p.m. Tues- Sept. 3. Only in America — a monument to the man who gave Thurs., $16 to $23. (312) 472-4141. this country its chain restaurant mentality. Edge of the Looking Glass is a new There's another functioning McDonald's restaurant in gallery, nightclub and theater space at 62 E. 13th St., One thing Chicago has in abundance are specialty Chicago between Ohio and Ontario streets that's a (312) 939-4017, (walking distance from the Art Insti­ bookstores. Here's a few worth checking out: must-see on your tour route. It's called the Rock 'n' tute). Through July 29 in their 150 seat theaterthey are For literary needs: Guild Books, 2456 North Lincoln Roll McDonald's (across the street from the Hard presenting Of One Blood, written and directed by Ave., has large sections of political literature, small Rock Cafe). There's a 1950s room, a 1960s room, a ensemble member Andrew White. The play is about press offerings and periodicals (Art Muscle is sold room with a 1950s corvette in it, life-sized plaster casts the three civil rights workers killed in Mississippi in the here!). The store also sponsors readings and discus­ ofthe Beatles, blarring jukes and much other memora­ 1960s (a la MississippiBurningbut factual). Tickets are sions. Wax Works, a great record store, is across the bilia. $10, showtime 8 p.m. Starting August 7 is a play by street and don't forget to go upstairs for shoes and too English playwright Jonathan Moore called Treatment, hip to handle clothing. Here's a few upcoming events The Museum of Holography at 1134 W. Washington about two skinheads and the youth movement in at The Guild: July 20, Women in the Director's Chair, 22 Art Muscle a screening of short films directed and produced by 423 E. Muddy Waters Drive, blues; Cabaret Metro/ and unique furnishings. Chicago women filmmakers ($4 donation) 7:30 p.m.; Smart Bar, everybody knows about these already, live The 99th Floor, Halsted (one block west of Toshiro), July 27, 8:30 p.m. Chicago Experimental film coalition music, national shows; Esoteria, 2247 N. Lincoln, kind hard-edged clothes, lots of black. Nearby: Hubba Hubba, screening, $4 donation; and Aug. 31, Milt Hinton who of Yuppie, but interesting decor; Exit, 1653 N. Wells, excellent resale shop on North Clark. will discuss his photography book of jazz musicians. funky, with theme nights like "Liquor Lobotomy;" Exo­ Arteffect, 651W. Armitage, 664-0997, unusual designs dus, 3477 N. Clark, reggae; Wild Hare and Singing with a housewares store nextdoor. Other literary/small press bookstores: Barbara's Book­ Armadillo Frog Sanctuary, 3530 N. Clark, Reggae; Wear In Good Health, Clybourn, small boutique run by store, 1350 N. Wells or 2907 N. Broadway and Some­ Gold Star Sardine Bar, 666 N. Lake Shore Drive, a two women who design their own clothes. thing Else Books, Inc., 2805 N. Sheffield Ave. true cabaret, expensive drinks, but good entertain­ ment in a Cole Porter way. Also: Occult Bookstores, 3230 N. Clark St., for all your new and used metaphysical needs. Europa Bookstore, 3229 N. Clark St., travel resource Festiuals on every country in Europe, greeting cardsf rom around the world. Chicago Gospel Festival, Petrillo Music Shell in The Stars our Destination, 2942 N. Clark St., sci­ Grant Park, July 29 and 30, 744-3315. Bsa El m ence-fiction. Chinatown Moon Festival, July 26-30, Cermak and Season to Taste, 911 W. School St., cookbooks Wentworth, 326-3900. restaurants displayed in a kitchen-like setting, free coffee and Gold Coast Art Fair, Aug. 11-13: Rush St., Chicago to Best Thai: Thai Classic, 3332 N. Clark, 404-2000. bakery goods sold. Oak. Best Malaysian: Casturi. This resaurant is across the All American Adventures, 2936 N. Clark St., comics. Chicago Jazz Festival, Aug. 31 to Spet. 3: Petrillo street from Chicago's best foreign film house (three Powells' Bookstore, 1501 E. 57th St., and 2850 N. Music Shell, Grant Park. screens) Facets Multi-Media, 1517 W. Fullerton Ave. Lincoln Ave., 828 S. Wabash: largest used bookstores Best Afghani: The Helmand, 3201 N. Halsted, with in the city. (Buys used paperbacks). antique Afghani textiles on the walls, linen tablecloths, People Like Us Books, 3321 N. Clark St., gay and very reasonable and exotic. lesbian authors. Star Top Cafe, 2748 N. Lincoln Ave, 281-0997, great C:L:0:T:H:I:N:G food, funky atmosphere. horse racing City, 361 W, Chestnut St., 664-9581, designer clothes, Third Coast, 888 N. Wabash and 1260 N. Dearborn, "furniture and objects. Comme des Garcons, Matsuda California type coffee house, great food, outside seat­ Arlington Park, Euclid Ave. and Wilke Road, in Arling­ ing. ton Heights, III., reopened on July 1. The horses race and Yojhi Yamamoto. Toshiro, 3309 N. Clark, inexpensive, earthy ethnic on Rios Casa Iberia: 4611 N. Kedzie Ave., 588-7800, everyday (except Tuesday). Sit in the stands, bask in Brazilian food. the sun and bet on the horses. It's actually lots of fun first floor and samplings of a variety of international independent designers upstairs. Beautiful fabrics, great Cafe Baba-reeba!, 2074 N. Halsted, excellent Spanish watching other people lose vast amounts of money or food. win it. If they're serious enough gamblers, their expres­ cuts for men and women, very unique designs, nice people ("if it's carried in a deptartment store, we don't Trattoria Pizzeria Roma, 1557 N. Wells, Great Italian sions stay the same, either way. Call (312) 255-4300 food. Storefront type trattoria, cute Italian waiters, bring for information. want it"): Designers include Hank Ford (San Fran­ cisco), Soap Studio (Holland), Narcissa (NYC) Babel your own alcohol. No reservations. (Canada) and Eastwind Code (Hong Kong, NYC). Parachute, 22 W. Maple, 943-9292, post-modern industrial display of primarily grey and black clothes by toys and nniscz:. The Bridge - Marina and Night Club: a new club on the Harry Parnass and Nicola Pelly. Simple lines, fine This is a place you must visit. Goodies, 3631 N. Halsted, river with live music on some nights (call), boat access, fabrics, expensive and painfully tempting. 477-8223, is a warehouse of old, used toys and an old valet parking , 1177 N. Elston Ave., 235-6674. Leg­ Saeed, 750 N. Franklin (River North Gallery area), ice cream soda shop. It started out as a small resale ends: Blues, musician Buddy Guy's club with live 337-6572, all European imports (will begin carrying business and grew into its current enormity. Pee Wee blues seven nights a week. Berlin, 954 W. Belmont, women's clothes in Sept.), focus on unusual colors, Herman shops here. Very cheap stuff, bring the kids! dance club on Belmont. At the Tracks, 325 N. Jeffer­ textures. Unique styles. No commercial lines. In the Joint Venture, 1704 N. Wells, for gadgets, jewelry and son, live music every night; Checkerboard Lounge, same building, check out Cose: Italian glass, objects primitive art. "**

WRSONESJQILLERM Downtown/Cathedral Square, 790 N. Jackson St., (414) 277-9797, Hours: Mon through Thurs 10-6, Fri & Sat. 10-8, Sun. 12-5

Internationally Acclaimed Artists July 21 - September 18 : Russian artist Mihail Chemiakin, prints from his early St. Petersburg metaphysical period. Original works.

23 4-r '"• •;>•.-•

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ISIIii 1 The People Behind Woodland Pattern I

Anne Kingsbury and Karl Gartung, owners of she recalls," and one of the games we picked up Karl Gartung Woodland Pattern Book Center at 720 E. Locust on started with all the trucks that said 'beaver' on Street, speak of being open to experience — the side. We started counting beaver trucks, and When Karl talks about the house overlooking the being receptive and attentive to it. A line from from there went on to various puns on beavers, Milwaukee River which he and Anne own, he Dennis Nechvatal's photopoem NOWISM, cur­ sexual puns, which I find very fun, then 'busy likes to call it "a house with a view." He says the rently being exhibited along with his landscape beaver' and all the quality attributes given to the view is important because it lets him see the paintings and woodcuts at Woodland Pattern, beaver." (Woodland Pattern's team t-shirts in horizon, something to which he is partial as a succinctly expresses their basic tenet: "Practice Uecker's Ride for the Arts even had beavers native of the Great Plains. But it seems the view Life." emblazoned on the backs.) is also important as a symbol of his ideas, his knowledge, his approach, his version of practic­ It is through the bookstore/gallery/performance ing life. space that Anne and Karl offer everyone a chance to try this approach to living. The center repre­ sents a Utopian vision of sorts, and one that is proving to be quite viable. It has its beginnings as "Writers must write a fictional place in Robert Metcalf s epic poem Apalache, a place ..."south of Lake Superior, a culture center: the Woodland Pattern, with poetry but without agriculture, imported without loss seriously and see from Lake Baikal, Siberia..." Woodland Pattern is a literary mecca in the heart of Riverwest. The selection of books is phenomenal, mostly small what else is being press and many titles unavailable anywhere else in the city— and indeed throughout the midwest. done, Woodland This, along with a decade of commitment to bringing in the finest poets and writers for read­ ings, producing a diverse selection of perform­ pattern is trying to ances, and showing exhibitions like Nechvatal's, have earned the book center a national reputa­ tion for excellence. Woodland Pattern's chal­ provide that context lenge is for "vigorous minds, open to possibili­ Karl is a panoramic thinker. Always an avid ties," and it is Anne and Karl's vision of an arts reader, he stands as an example of the kind of community — a place where we can all practice for writers," person Woodland Pattern hopes to serve, as the life—that has made Woodland Pattern what it is. kind of person one can become if she or he reads actively and adventurously. "Woodland Pattern Anne and Karl are currently busy as co-sponsors is my education. Through it and Boox, Books I have been exposed to an enormous amount of (with George Tysh at the Detroit Institute of Arts) When Anne got an assistant professorship at the creativity and ideas." of the upcoming national conference for literary University of Wisconsin-Milwaukee in 1974, they and arts centers, which will occur in Detroit in moved here. Karl returned to theater work with He remembers periods of his life by whom and August and focus on multi-cultural literacy. a few local companies. Soon he hooked up with what he was reading: Carl Sandburg, e.e. cum- Woodland Pattern's next exhibition will be of Tom Montag and Karl Young and was hired to mings, George Bernard Shaw, biographies and John Story's paintings, set to open some time in work at Boox, Books in the old Water Street Arts historical novels while growing up in Liberal, September. Center (where Mr. Bear's is now). After Anne left Kansas, "walking into the spine of a book-shaped the university, she began helping out in the library." (At the time, Liberal's public library was bookstore simply to be supportive of his interests a poured-cement structure in the form of a huge and endeavors. Thus she "sort of sneaked into book, created by the same man who developed Anne and Karl met in the late 1960s, when she arts administration." was teaching at Hastings College in Nebraska and the method for pouring cement grain bins.) And he read farm manuals, Reader's Digest volumes, he was finishing undergraduate work there. He Since reincorporating Boox, Books as Woodland the Bible while at his grandfather's farm, a place was in her art appreciation class ("I suspect he Pattern in 1979, their roles have pretty much he loved primarily because it was quiet. already appreciated it," says Anne). In 1969 Anne remained the same — although they have ex­ left Hastings to teach in Flint, Michigan; Karl panded and become more complicated. Anne graduated that year and moved to Minneapolis, serves as director and Karl as Program Director. In college in at Hastings, where he majored in where he worked "in theater. They stayed in Through their efforts at Woodland Pattern, as Theater and History with a minor in English, his contact and it wasn't long before Karl hitchhiked individually respected artists and as members of interest in poetry intensified. He read a lot and from the Twin Cities to Flint. In February of 1970 various arts boards, panels and committees, they began to write poems as well. After college, they were married and moved to South Haven, have become central figures in the Milwaukee's while living in Flint, he "read the entire poetry where Karl worked as an orchard equipment and Wisconsin's arts communities. They have, section of the Flint Public Library and mostly got salesperson. however, eschewed personal profiles, preferring bored to tears." He adds that Flint did introduce to foreground Woodland Pattern and let their him to Anne Sexton, Robert Lowell, A.R. Am­ During this period, Anne would sometimes own careers recede into the background. Here is nions and William Stafford, and that they stood accompany Karl on his sales route. On these long a glimpse of how they, as individuals, practice out. But the problem of uniformity got in the way. trips she became interested in beavers—Wood­ life. All the poetry in the library — and in American land Pattern's motif and a primary symbol in Poetry Review, which he was also reading then— Anne's work and life. "We'd play road games," was too much alike, too limited.

Story by Renee Deljon * Photos by Francis Ford * Illustrations by Anne Kingsbury

25 Anne Kingsbury

But Karl found William Carlos Williams, his five- "The words around the potholders, say, those are volume poem "Paterson" in particular, and his things I've thought about for a while. Anyone life was changed, infused with awareness ofthe would have, since it takes an hour to sew down poem's and the poet's greatness. Then, in 1975 in a letter and another hour to bead around it." Milwaukee, Karl underwent his personal renais­ sance. He credits Jerome Rothenberg's seminar Actually, Anne has joined language and image for in ethno-poetics as the catalyst for his reborn a number of years, particularly in the lists she sense of poetry; during the seminar he met, keeps daily, lists that coexist with drawings of among others, Gary Snyder, David Henderson, future projects. Hers are unusual lists; she doesn't Diane Wakowski, Jackson Mac Low ("who's just dash them off on scrap paper, cross off wonderfully crazy; he's the Mozart as far as poetry's completed tasks and toss them into the trash. concerned — he imagines forms that nobody's Done with pens of different colors and winding ever imagined"). At that point, "everything opened around to make shapes with other things on the up." He soon encountered the work of George page, these lists are saved, and Anne wholly Oppen, Basil Bunting and Lorine Niedecker. believes they are transformed into objects, ob­ Niedecker's poetry has remained especially jects that represent the history of specific proc­ important to Karl: it (and of course Williams') is esses. "A list becomes an organic process and some of the verse to which he is referring when therefore facilitates a process. So what happens Of course, the nature of Anne Kingsbury's art has he says, "there's some poetry I think of every is your list becomes an object, it becomes its own something to do with her history, but she is best day." thing, a history." able to identify the farm house in which she grew up as a particular source. That house is located in When Karl joined with Tom Montag and Karl Chax Press in Tucson found her lists so unique Turde Lake, Wisconsin, where she moved from Young, his sense of poetry opened up even and significant that they were collected into a Oak Park, Illinois around the age of five. "The more, truly exploded. He calls these two poets book in 1986, fournal Entries 1977-84: A Life house is pretty interesting," she says. "It's got a lot his "most important teachers." And the reason through Lists. The book is remarkable for both of stuff, which is where my ideas probably come should sound apropos by now: "they taught me the obvious objectness of the lists (they were from. You never know when you're going to to acknowledge my ignorance, to be open to all called quilts by one reviewer) and for Anne's need a pair of pickled Siamese pigs." (The pigs kinds of poetry, ranging from primitive to experi­ streamlined, poignant language. The lists were were her father's, who was a biology teacher, and mental, to acknowledge possibilities everywhere." begun in during a period of great stress in her life, were among the fossils and skeletons he brought His interest in diverse kinds of poetry was already a time when "it was difficult to concentrate on home from school when he left teaching.) established when he met Montag and Young, but anything for any length of time." By setting a his sensibility of being open to it "wasn't devel­ kitchen timer for short spans she was able to oped. " Small presses were a revelation for him— begin the listed tasks. the abundance of writing, wonderful. He went "from being bored to overwhelmed." The lists in particular demonstrate the powerful role process plays in Anne's life and work. Her As someone who believes reading is an active voice dips and becomes something akin to rever­ pursuit, Karl easily demonstrates how well-read ent when she explains her feelings about proc­ he is. He punctuates nearly every discussion with ess: "I believe in having an object, but if you only quotes and paraphrases. He can turn his talk, get satisfaction out of that finished thing, because whether it be about art, politics, history, science, it takes me so long to do the finished thing, there's literature (etc., etc.) into eloquent verbal demi- a lot of space in there that's process and the treatises. All this evidences that he has mastered process is valuable, partially because you're par­ what he encourages all writers to master — the ticipating and growing and working with it, but context in which they are writing. "Writers must partially because it sparks other ideas and par­ write seriously and see what else is being done. tially because you like the activity that you're That context is very important. Woodland Pat­ doing." Anne, in fact, needs to make objects that tern is trying to provide that context for writers." take a long time to construct, though she'll quickly For Karl, for his own work and that of others, and repeatedly talk about how precious and context is an ethical matter, a primary matter of elusive time is for her. But she has made a artistic responsibility. Without an awareness of conscious decision to create things that take what else is being done, a writer cannot, Karl years to finish. She says, "hand sewing becomes maintains, know how to judge her or his work, essential — not just for joinery or surface enrich­ know its merit and significance. Some of the stuff that finds its way into Anne's ment, but to permit organic growth through slow work is leather, silk, stoneware, low-fire clay, process." It is both she and her work that grow. In mulling over the context of today's literary feathers, beads, antique trim and various other Process is a way for Anne to ensure that she environment, Karl is very optimistic and encour­ fibers. Her current work "takes two directions: pursues one of her personal goals: "to always be aged. His only reservation is that "people don't quilted wall hangings based on personal iconog­ present in all my work; to deal with both work seem to be as interested in learning from each raphy, and figurative soft sculpture forms." These and life with a full and open attention to details." other as they used to be — they're interested in pieces — mostly traditional female objects, pin­ teaching, but not learning." Ron Silliman, the cushions, potholders, dolls—are the the result of Anne's work has gained wide acclaim, and she Language Poet, essayist and editor ofthe Socialist her work evolving over the last 25 years. has exhibited in shows of regional to interna­ Review, has become a touchstone of sort for Karl, tional importance, including one at the Smith­ who refers to him frequently, whether to praise She attributes her use of leather and ceramics in sonian. Still, though, her traditionally female him as a poet and thinker or to illustrate a point her recent work to life's vicissitudes, or fate. objects remain hard to classify, as most unique about the necessity of decentralizing poetry. In "Someone gave me some scraps and then there things do. Part ofthe time she shows in a fine arts fact, it is Silliman to whom Karl is referring when was a kiln accident and some little pieces broke context, other times arts & crafts, which fre­ he says, "some of the most interesting thinkers and I still wanted to finish a project, so I used quently has been viewed as an inferior category. are held away from teaching posts because they extension which happened to be leather, and While Anne will say that she is not necessarily are not certified." For all practical purposes, since then I found out leather doesn't have raw edges interested in classical beauty, she will also say the he holds only a BA, Karl could be referring to that you have to turn under. So it wasn't a seeking question of value remains for her a matter of himself as well, although he maintains that he's out but rather a gift from the gods. Somebody semantics. "Where you get into the idea of high not an academic person. "I'd rather leave that to gave me something at a time when I was ready to art, and one art being more valuable to mankind somebody else." explore it and learn how to use it." than another, you get into all kinds of game- playing. So I've just sort of ignored it, which is Despite his own awareness of the context in An element that has joined her assemblages is probably a way of copping out and not dealing which he writes, Karl considers himself to be "just language, "simple four-letter words like 'work' with it. That my work is difficult to categorize has training as a poet." As such, he hasn't published and 'time.'" She doesn't know how her art would worked to my disadvantage. But I just don't pay a lot, only in a few magazines and broadsides (as have evolved had she continued in academe (she attention and keep going. I'll show where they'll well as an article in the Wisconsin Academy will, however, teach an adult workshop this take me; if it's a craft museum, there's wonderful Review, he sometimes thinks the essay is his true summer). But she does know that changes such stuff being done there, and if they want to call it calling). He does, however, have a book in as the incorporation of words are "Woodland high art, terrific, but I'm not going to stop working progress — Now That Memory Has Become So Pattern coming in the back door—because now because it's one or the other." 5E Important. He awakened one morning with the I'm around people who write and who are inter­ title in his head. Acknowledging that doing a ested in text and words; and while I've always book requires developing "courage," he says, "in been interested in that, I don't know if it would [Renee Deljon is a candidate for a Master of Arts some ways I feel like I better do that, or I'll be have been in my work visually." These simple degree in English at the University of Wisconsin- regretting it — because, in a sense, your poems words have "a strong magic meaning" for her. If Milwaukee.] aren't written until somebody reads them." a word is there, it's a word that is very important. 26 Art Muscle V^rn^m

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Bj Steve Wurcer HAZELTINE

ianist Dave Hazeltine is Director of Jazz for half my life. And I think that I was right. But through the day, and you're finally going to the Studies at the Wisconsin Conservatory there were things that I didn't know. For ex­ gig, you're saying to yourself, this better be real of Music. He made his professional ample, the way you have to live in New York, day hip. You can't have any investment in life itself to debut at the age of thirteen, performing to day. Once you make it to the gig, everything's live in New York—you have to have a complete with local and national artists through­ fine. But you have to get to and from the gig, and investment in your artform, with a total disregard out the Midwest; as pianist for national being on the subway at three in the morning is no for everything else in life. And I think that ulti­ actPs at the old Milwaukee Jazz Gallery he played fun, especially if you're dressed up. One year my mately affects the artform. with such artists as Sonny Stitt, Chet Baker, Char­ wife and I lived in a loft just outside Soho, in les MacPherson and Al Cohn. Between 1981 and Chinatown. It was a sixth-floor walkup. I had a I was always under the impression that if you go 1983 Hazeltine lived in New York, where he steady gig where I had to haul my Fender Rhodes there, you'll be raised up to the level of the other worked with the likes of Junior Cook, Curtis up and down the stairs — have you ever lifted a artists who live there. The fact ofthe matter is that Fuller, Ted Curson and Don Elliot. He currently Rhodes? And flagging down cabs — my friend artists develop their skill, and then go there to sell plays weekends with bassist Gerald Cannon at (trumpeter) Brian Lynch and I had this routine it. And it's crap to think of that place as the artistic Chip and Py's Restaurant in Milwaukee. where we would ditch the Rhodes off to one side center of the world, when it's really the artistic and I would stand in front of it. He would flag the marketplace. People don't get it together in New As a teacher of jazz, Hazeltine is thorough and cab, and when it stopped, he would open the York, people fall apart in New York. It's the only demanding. As a player, he inhabits one of those door and I'd wheel the Rhodes over. If the cabbie place where you'll see Jaco Pastorius sitting in peaks between shear chops and rapture. As an had seen the thing, he would have kept going. front of the Blue Note with a tin can, begging for all-around cat he is keen, irreverent and always money. On the other hand, I did learn a lot of ready for a good argument on any subject from As a musician, you actually made less money things — not about how to play jazz, but about Coltrane to Camus. In what follows, we talk there, which was something I didn't know. I the realities of playing. I learned a lot about about New York, about Milwaukee and jazz. assumed you made more, but I made less money people. there than I was used to making here. The pay Steve Wurcer: Why did you leave Milwaukee for was way out of line with the reality of life there. SW: Let's talk about the state of jazz in Milwau­ New York? kee. Dave Hazeltine: I had the wrong ideas about the SW: Didthe realitiesof living take the satisfaction DH: It's deceiving, isn't it? If you pick up one of music business. And I thought that my playing out of playing? the Unlimited fazz Limited mailings, they give was at a level where I could participate in the DH: No, but it made me constantly evaluate you a listing of all the jazz in Milwaukee, and it's scene that I had grown up listening to and studied every supposed pleasure. Once you've made it impressive. I can never believe it when I look at 29 Charlie Parker's licks and then to decide what SW: You don't think it's an attempt at cultural it. It's about three pages with about ten or fifteen they want to use? sanitization? clubs on each page — places to go to hear jazz. DH: It's not that simple. That's just melody; DH: No, because what's important is the music. But what it mostly turns out to be is Dixieland, there's also rhythm and the harmonic aspect. The only thing I don't like is this notion of making and...do we really want to get into that? When you get down to it, style has more to do jazz a concert hall music. I don't think you have with rhythm, given a certain competence with a to serve booze to get people in to listen to jazz, SW: Yeah. melody. but the concert hall is a totally wrong environ­ DH: It's a complicated issue, I think the problem ment for the music in terms ofthe way it sounds. with Dixieland is that it's music that has stopped SW: Your teaching method is fairly rigorous. Acoustically, it doesn't work. I'm not worried and doesn't consider any of the truly artistic How do you reconcile this with the spontaneity about attempts to clean up the image of jazz; I developments in the music that came later. Now that's required of a jazz player? think it's great. I'm clean. somebody is going to say, what about snobby DH: Are spontaneity and rigor contradictory by jazz musicians who don't take into consideration definition? My concept of teaching, and of play­ SW: As a practical measure for jazz in Milwau­ what Gino Vanelli did? But that's absurd. ing for that matter, is that in order to get to the kee, what is to be done? heart of creativity, you have to arm yourself with DH: We need a jazz club here. We need some­ SW: What about the other side ofthe coin: post- the form as much as possible. We all have the po­ body with business sense who knows how to run bop developments like Ornette Coleman's music? tential to be creative. But what's going to influ­ a place, and who's open-minded enough to take DH: I don't think Ornette Coleman should be ence that creative energy? It's just some energy steps B and C. Step B is to hire a manager, and called jazz, because he doesn't play in the jazz sitting there; it doesn't have an outlet So you pick step C is to get a person to deal with the musi­ idiom. He may play a derivative of it, but I think up a paintbrush and start messing around. Are cians, to book acts and to oversee the musical free music should be called free music. Why call you really getting to the core of that creative en­ part. I don't know any one person who can do all it jazz? Why call fusion jazz? ergy? No, but after you sit there for ten years and of those things. really learn about the form, that's when you start There's this notion that jazz is synonymous with getting to the core. It can happen. There's so much money in Mil­ improvised music. People have been improvis­ waukee, and there's a jazz audience. When the ing music for a long time. Why is it that music SW: Will jazz ever get the appreciation it de­ Art Ensemble of Chicago, a relatively obscure that's improvised is jazz? If somebody's too lazy serves? group, played here, they filled the Jazz Gallery and they don't learn the melody or the right chord DH: I think that's just starting to change. Who twice. They packed that place twice in one night. changes to a tune, what do they say they're doing? knows why, but it's taking place. People are I'm interested in getting something going educa­ They're improvising. And what are they doing if trying to sell jazz for the firsttim e in the history of tionally in a jazz club. they're improvising? I guess they're playing jazz. the music. I could nitpick about whom they're marketing and why. In New York, a record com­ SW: Something like what you tried to do at the Classical musicians improvise. Brahms could pany decides they can sell a guitar player. So they fazz Gallery? play his ass off. And he played in bars, too. Was take a couple of guys and go to every club in town DH: The room would have to be right for it. he playing jazz? No, of course not. There are still and watch every guitar player. And they go out They'd have to cage off the bar to make it legal. classical improvisers. I heard a guy a couple of already knowing what they want. One day a week would be the education day. It years ago who could improvise fugues. I have a would be a jam session, but in a club — in the lot of respect for that. But a jazz player is some­ But no matter how many bad things you can say right environment, with older musicians and one who improvises in the idiom of jazz. What is about this, it's still selling jazz. Wynton Marsalis students in a kind of intellectual and non-intellec­ that idiom? That's what I'm working on. My might be racist, and he might not play as well as tual exchange. We can't sit down in the basement interest in teaching and my intellectual interest in Freddie Hubbard and Miles Davis and half the ofthe Conservatory forever and really talk about the music is defining the idiom. trumpet players in the history of jazz, but he's still what it is. We can say, now when you get to the selling the music, and he's selling it in a dignified club, here's what you'll want to do. I would like SW: How do you encourage your students to way. He looks nice. He's dressed clean. His arms to be in the club at least once a week and say: develop a style? Do you tell them to learn all of aren't punctured. You're here, now do it right. J££ iStft Annual (c To MAKE A SAND WICII INTO morning glory A WORK OF ART REQUIRES GOOD TASTE. To AQU1RE GOOD TASTE craft fair 1989 free music BEGIN WITH WHAT'S %g$s?c/ admission food August 12 & 13, 10-S\ 87 CRAFTS/ARTISTS of Wisconsin oflering fine, original crafts you can afford, use & keep as heirlooms. The show is juried.

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Now-July 22 John Bruckner, Recent Painting & Draw­ ing Artistry Studio Gallery, 833 E Center; 372- 3372

Now-July 22 Milton Avery, the 1940's Period Oils, gouache, watercolors & drawings; David Barnett Gallery, 1024 E State; 271- 9132

Now-July 23 John Gruenwald: Selected works on pa­ per; Rahr-West Art Museum, Park at Eighth St; Manitowoc SECOND CITY Terese Agnew, Nike, Hercules & his Lion, and Tbor, September 16 SUKAY Now-July 23 Dean Jensen Gallery Photo by Alex Thien Dashboard Art September 23 Objects used to adorn the auto's interior; Now-July 31 MARKET THEATRE also I Become a Transparent Eyeball OF JOHANNESBURG THE BOBS Automobilia Lisa Mahan September 29 October 7 Objects & artifacts that have come about Paintings & masks; Sa & Su 12-6pm; as a result of the automobile's existence; Bottega Studio Gallery, 800 E Burleigh; John Michael Kohler Arts Center, 608 New 374-1111 URBAN BUSH KING SUNNY ADE York, Sheboygan; 1/458-6144 WOMEN October 21 Now-August 1 January 27 Now-July 23 Owen Gramme Art Show 15 Special exhibition to commemorate the PAUL WINTER Biennial juried exhibition; recent work of artist's 93rd birthday (July 5); Landmarks PAN ASIAN CONSORT UWM alumni; UWM: Fine Arts Galleries; Gallery, 231 N 76th; 453-1620 REPERTORY THEATRE November 17 229-6310 February 15 Now-August 6 Now-July 23 Flowers in Fluent Watercolor KAPELYE American Drawings & Watercolors from Hazel Adams CHICAGO REP. February 10 the Wadsworth Atheneum Boerner Botanical Gardens, 5879 S 92nd; DANCE ENSEMBLE Over 60 works on paper dating 1771- 425-1130 March 24 1962; Leigh Yawkey Woodson Art Mu­ THE MODERN seum, Franklin & Twelfth, Wausau; 715/ Now-August 11 JAZZ QUARTET 845-7010 Mirror Images SPECIAL EVENT April 18 Group exhibition of self-portraits by UWM MUMMENSCHANZ Now-July 28 art students; UWM: Kenwood Inn; 229- March 16 Eastbrook Artists 6310 Reception July 16 5-6:15pm following Acacia Theater performance of Our Town; Now-August 12 Eastbrook Center, 2844 N Oakland; 332- A Summer Treat for the Eye SEASON SUBSCRIPTIONS AVAILABLE NOW! 7730 Works of 23 national & regional watercolo- rists; Watermark Gallery, 1257 Mason St, CALL 229-4308 Now-July 28 Green Bay; 1/497-1497 Emerging Artists Works by Robin Campo, John Fatica, Kathy Now-August 13 French Bicentennial Exhibition Moss-Gaskell, Tom Halas, James B Har- Featuring fresh exotic varieties daily • Microwavable Dinners to Co tel, Thea Kovac, Paul Moran, Jean Roberts, Historical & contemporary French artworks Brian Smith & Susan Van de Boom; Aristoi from the permanent collection; UWM: Hot Gourmet Dinners to Co • Delicatessen Firday Fish Fries Gallery, 2521 E Belleview; 962-8330 Vogel Hall Gallery; 229-6310

Now-July 29 Now-August 13 The Road Show FATHOM FIVE Revolution in Print: France, 1789 Exhibition demonstrating the influence of Exploration of the political, social, humor­ the printing press on the events surround­ ous attributes engendered by the automo­ ing the French Revolution; Milwaukee bile & its aesthetic, social & personal is­ Public Library: Wehr-McLenegan Gallery; sues including demolition derby, car de­ 278-3031 sign, vacation by car, urban traffic & death by car accident; John Michael Kohler Arts Now-July 29 Center, 608 New York, Sheboygan; 1/ New Directions in Line 458-6144 Valerie Christell, Pastels Peggy Thurston Farrell, Paper Construc­ Now-August 14 tions Yes There Is Life Outside Rockford ?0O©OO0OO©©OO0©OOOOOO«OCCC«O Barbara Manger, Color Drawings & Exhibition includes Wisconsin artists Monoprints; Roberta Gerds, Bonnie Gleason, Jeri OOCCCCaOtiOOOCOOOCtiOOOOOOOOOOOC Tory Folliard Gallery, 6862 N Santa Monica; Gerding, Phyllis De Meyer, Sally Gauger Jensen & Terese Millman; Gallery Ten, B /V 351-2405 S D 221A E State, Rockford, IL; 8157964-1743 EMM JT^ Now-July 30 Dennis Nechvatal Now-August 18 4022 N. Oakland • Shorewood Wl • 53211 • 962-4545 Paintings & drawings; opening June 10 La Vera Pohl Collection of German Ex­ time TBA; Woodland Pattern Book Cen­ pressionist Art Hours: Tues-Thurs 10-7/Fri 10-8/Sat 10-7/Sun11-4 ter, 720 E Locust; 263-5001 Lawrence University: Art Center Galleries, Appleton; 1/735-6586 31 Now-August 19 Now-August 31 Now-September 17 July 21-September 9 Calliopes & Clowns Art from the Sepik River Really Big Prints Noel Spangler Retrospective, Paintings & Interpretations of the circus/circus parade A large collection of New Guinea sculp­ Etchings, lithographs, screen prints & Prints expressed in a variety of media; A Houber­ ture, ceramic pots, cooking vessels, masks, woodcuts executed in large scale from the Tom Kelly, Folk Sculptures bocken Inc; 230 W Wells, Suite 202; 276- dance shields, headdresses & musical museum's permanent collection; MAM: Open Gallery Night July 21; Katie Gin- 6002 instruments; Posner Gallery, 207 N Mil­ Teweles Gallery; 271-9508 grass Gallery, 714 N Milwaukee; 289- waukee; 273-3097 0855 Now-August 20 Now-September 24 The Third Dimension: Sculptural Pres­ Now-September 13 Renaissance & Baroque Bronzes July 22-September 17 ence in Wisconsin Currents 15: Gunther Forg A broad range of small bronze sculptures The Far Side of Science Features the work of Peter Flanary, Erik Installation of painting, sculpture & pho­ from the 16-19th centuries; MAM: Segel Over 400 Gary Larson cartoons & photo­ Maakestad, Joan Michaels-Paque, Liese tography by German conceptual artist; Gallery; 271-9508 graphs; Milwaukee Public Museum, 800 Pfeifer, Susan Walsh & Gayle Marie Weitz; MAM: South Entrance & Ross/Paine Gal­ W Wells; 278-2702 MAM: Cudahy Gallery; 271-9508 leries; 271-9508 Now-September 30 Africa July 23-August 20 Now-August 27 Masks & figures, 1914-1950, from north­ Hmong Needlework Sounding the Depths: 150 Years of the ern & western Africa; from the private Works from the Ge Vang family, mostly American Seascape collection of Mr & Mrs Hermann Wieland; sewn in the refugee camps in Thailand; 65 paintings & sculptures ranging from Elsa's on the Park, 833 N Jefferson; 765- opening reception July 23 will feature a realistic to abstract, all seascapes; also 0615 performance of traditional Hmong & Lao­ Recent acquisitions; MAM: Journal/Lubar tian music; family members will be pres­ Galleries; 271-9508 Now-September 30 ent; St John's Uihlein Peters Gallery, 1840 Summer Art Exhibit N Prospect; 272-2618 Now-August 31 Over 100 works by art students at the Clement Meadmore college in various media; Cardinal Stritch July 27-September 9 Planar Sculptures College: Studio San Damiano & Layton B.E. ART David Barnett Gallery, 1024 E State; 271- Gallery; 6801 N Yates, 352-5400 Wearable and livable art; opening recep­ 5058 tion July 28 6-9pm; Artistry Studio Gallery, Now-October 1 833 E Center; 372-3372 Now-August 31 L'Heritage Visuel De France Group Show 16th-20th century works by French artists July 29-August 30 Works by Carrie Skoczek, Tim Haglund, in commemoration of the bicentennial of An Art of Deception: American Wildfowl John Gruenwald, Rev William Blackmon, Tom Rauschke & Karen Wiken, Spirit Pony, 1989 the French Revolution (from the perma­ Decoys David Bruton & Roberta Williams; Metro­ Wustum Museum Photo by William Lemke nent collection); UWM: Vogel Hall Gallery, Over 50 decoys from the collection of the politan Gallery, 229 E Wisconsin, Suite 3253 N Downer; 963-6509 Museum of American Folk Art in New 400; 223-4838 Now-September 3 York; Leigh Yawkey Woodson Art Mu­ Buttons from the Collection of George & July 19-August 19 seum, Franklin & Twelfth, Wausau; 715/ Now-August 31 Viviane Beck Ertell; Mixed Bouquet 845-7010 Survey of Gallery Artists Something Old, Something New: Wed­ Priscilla Heussner, Florals in color pencil; Includes local artists John Balsley, Tom ding Gowns from Cedarburg's Past; and also July 30-October 22 Bamberger, William Nichols & Fred William F Hilgen: Cedarburg Architect Nikki Knudsen, Watercolors; Dennis Uhlig Robert Ebendorf Retrospective Stonehouse as well as works by Robert (drawings & blueprints) Fine Art, 1932 E Capitol; 964-6220 (metals,paper,found objects); also Mapplethorpe, Frank Stella, William Weg- Cedarburg Cultural Center, W63 N 643 David Bower, small interior settings man, Andy Warhol & others; Michael H Washington Ave, Cedarburg; 375-3676 July 21 John Michael Kohler Arts Center, 608 New Lord Gallery, 420 E Wisconsin; 272-1007 Gallery Night York, Sheboygan; 1/458-6144 Now-September 10 Area galleries will welcome visitors from 6- Now-August 31 Recent Acquisitions 9pm August 1-15 Architectural Facades, 1976-1986 MAM: Journal/Lubar Galleries (lower level); Friends of San Damiano Richard Haas 271-9508 July 21-September 1 Preview of Cardinal Stritch's Mile of Art Lithographs; also featuring a large collec­ The Last Unknown festival (Aug 20); works of 15 artists mixed tion of original prints; Peltz Gallery, 1119 E Now-September 13 Artifacts, paintings & photographs from media; PAC: Magin Gallery; 273-7121 Knapp; 223-4278 The Aesthetic Excursion: Artists Look at New Guinea and Australia; opening re­ Travel & Transportation ception July 21 6-9pm; a video of New August 2-27 Invitational; works in many media by mid­ Guinea by Eugene Gilbert will be shown at Wisconsin Art History Survey west artists on the theme of travel; Charles the opening; Posner Gallery, 207 N Mil­ Art Exhibit for Children's Classes A Wustum Museum of Fine Arts, 2519 waukee; 273-3097 West Bend Gallery of Fine Arts, 300 S 6th; Northwestern, Racine; 1/636-9177 1/334-1151

Re-Vision: WIB&OUXS rW PrWZSrU Confronting the Past •Watercolors August 4-August 25 Winsor & Newton Professional and Cotman, Grumbacher Academy Opening Reception: •Watercolor Papers Friday Aug. 4 • 7:30-10:00pm Sheets, Pads, Blocks, Rolls and Handmade Papers summer hours: INVESTIGATIONS: M-W 10am-4pm The Non-Silver in Photography Th 10am-6pm F 10am-2pm July 7 - July 30,1989 Sat/Sun closed Arts & Crafts 1101 N. Old World 3rd Street / Milwaukee, Wl Opening Reception: Mon. thru Fri. 8:30 - 5:30, Sat. 9 - 5 A l L E R V Friday, July 7 • 7:30-10:00pm 272-1890 Free and open to the public 2200 E. Kenwood Blvd. Union Building-first floor 1/2 hour Free parking at the 4th For more information, call JoMarie Rkketts. director, Union Art Gallery (414)229-6310. & Highland Parking Structure | with $10.00 purchase

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GURDJIEFF BOOKS FOR SALE P&CLM aUjUmHaXifo. SPICE HOUSE. OLD WORLD 3*°ST. 53103. Z71-0W. All and Everything, " the Tales ". Ulysses Marshall, Sunshine Meets the Man, 1980 Haggerty Museum First Series. 1238 pages. An Objectively September 1-October 1 Upper Gallery: Light Dreams August 4 Impartial Criticism of the Life of Man. Holographic Images; also Slice of Milwaukee - Third Ward Block Lower Gallery: Crash (Computer Assisted Party Meetings with Remarkable Men. Exhibitions, entertainment, parades & Hardcopy) Second Series. 303 pages. International exhibition of computer re­ refreshments; 11am-11pm; free; south lated works; West Bend Gallery of Fine Broadway between Buffalo & Menomonee; Arts, 300 S 6th; West Bend; 1/334-1151 info 276-8202 Life is Real Only Then, When " I Am ". Third Series. 177 pages. September 9-October 29 August 6 Birds in Art Bradley Sculpture Garden Party 14th annual exhibition; includes a mini- Tours of the garden, music & food; benefit Views from the Real World. retrospective of the work of Maynard for MAM acquisition fund; Noon-7pm; $8; Early Talks of Gurdjieff in Moscow, Essentuki, Reece; Leigh Yawkey Woodson Art Mu­ 2145 W Brown Deer; 271-9508 Tiflis, Berlin, London, Paris, New York, and seum, Franklin & Twelfth, Wausau; 715/ 845-7010 August 6 Chicago, As Recollected by His Pupils. 276 pages. Metaphysical Summer Fair September 17-October 29 Reiki, astrology, numerology; noon-5pm; Wisconsin Biennial 1989 free demonstrations, readings $12; High Juried exhibition sponsored by Wisconsin Wind Books, 3041 N Oakland; 332-8288 Painters & Sculptors; opening reception Sept 17 1-4pm; Rahr-West Museum, August 11-13 Manitowoc; info 392-2195 Mohican Traditional PowWow Stockbridge-Munsee Reservation; Bowler, Wisconsin; 715/793-4191 v$% 33 August 12 & 13 July 29 & 30 Book Sale Rime of the Ancient Mariner iY Benefit for Milwaukee Area Chinese 2pm; MAM: Multi-media Theater; 271 -9508 Democracy Fund Sa 10am-5pm, Su noon-5pm; People's August 12 $13 PAINTED FINISHES Books, 1808 N Farwell; 272-1232 Turtle Diary % Glenda Jackson & Ben Kingsley develop August 13 courage in freeing giant sea turtles from furniture Bagels & Bach at the Milwaukee Art the zoo; 2pm; MAM: Multi-media Theater; Museum 271-9508 texpMrcd effect* /% malts Enjoy bagels, fresh fruit & coffee while Obie Yadgar broadcasts live; 11 am-1 pm; August 17 irrotnpc Tod I arcbi teetotal detail $5/$4/$3 (reservations recommended); 20th Century Cinema—Before 60 J MAM: Vogel/Helfaer Galleries; 271-9508 Imitation of Life mural* art object* (1959) A black woman & a white woman /-? August 18-20 maintain a strong bond while raising their ./ St Croix Wild Rice Festival & Contest daughters; 7pm; MAM: Multi-media the­ interior—exterior Fort Folle Avoine; Webster, Wisconsin; atre; 271-9508 V 715/349-2219 or-2195 commercial — rwidcntiaJL..- ^ August 26 & 27 August 19 & 20 Sea Images Firefly Art Fair 2pm; MAM: Multi-media Theater; 271 -9508 \;M Wauwatosa Historical Society PAUL MAN D RACGWIA Sa 10am-5pm, Su 11an-5pm; $2; in the LECTURES Victorian gardens of the Kneeland-Walker 4I4-2&Rainbow Summer Shostakovich: Quartet #11 Op 122 waukee County Medical Complex 8:15pm; free; Washington Park, Lloyd at July 24: Claudia Schmidt Bloch: Piano Quartet #1 Grounds; 7pm at Boerner Botanical Gar­ Sherman Blvd July 25: Eddie Butts (also at 7:30) 8pm; $10; UWM: Fine Arts Recital Hall; dens, 5879 S 92nd; info 276-1710 July 26: Willie Sterba, children's music 229-4308 July 23 July 27: Penny Goodwin, jazz July 19 Sopramare Serenade July 28: Angels of the Himalayas, folk rock July 17-21 Louie Byk Polka Band Chamber music; 3pm; free; Villa Terrace, Noon-1:15pm; PAC: Peck Pavilion Rainbow Summer Auer Avenue Playfield, 2319 W Auer 2220 N Terrace July 17: Patsy Tighe & Scott, jazz July 26 July 18: Rosewood Percussion (also at July 19 & 20 July 23 All-Gershwin Concert 7:30pm) The Phantom of the Opera O Sole Mio Neal Gittleman, Conductor July 19: Lou & Peter Berryman, folk Donald Hunsberger, Conductor Milwaukee Symphony at Festa Italiana Milwaukee Symphony SummerNights; July 20: The Wolff Family Orchestra The 1925 film starring Lon Chaney with 7:30pm; $6.50-$ 17.50; Marcus Amphithea­ 8pm; $6-$50; PAC: Uihlein Hall; 273-7206 July 21: Travesty, pop, jazz, blues accompaniment by the Milwaukee Sym­ ter, Summerfest grounds Noon-1:15pm; PAC: Peck Pavilion phony; 8pm; $6-$50; PAC: Uihlein Hall; 273-7206

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John D. Anello, Jr. Producer/Artistic Director Ticket info: 278-4389 35 July 27 August 10 September 10 Now-August 20 Joe Aaron Quartet Stan* Grad (The Old Town Serbian Or­ Judith Goetz, Piano Grease Familiar standards & ballads; 7pm; free; chestra) Tena Hess, Flute Sunset Playhouse Boerner Botanical Gardens, 5879 S 92nd; 7pm; free; Boerner Botanical Gardens, Faculty duo recital; 3pm; free; Wisconsin Th-Sa 8pm, Su 7pm; $8; 800 Elm Grove bring your own seating 5879 S 92nd; bring your own seating Conservatory of Music, 1584 North Pros­ Rd; 782-4330 pect; 276-5760 July 28 August 11 Now-August 26 Mannheim Steamroller Dancin' Children's Blues Away September 11 The Heritage Ensemble With the Music of Nature Leroy Airmaster Isaac Stern The Mountains Call My Name (M.W.F) Adam Stern, Conductor Benefit dance for Children's Service Soci­ Artist Series at the Pabst Story of John Muir; Milwaukee Symphony SummerNights; ety; 8-midnight; $15 ($10 advance); Cha­ Concert celebrates the opening of the new Tunes of Trial & Triumph 8pm; $6-$50; PAC: Uihlein Hall; 273-7206 let Dance Land, Appleton at Hubertus lobby & link to the Milwaukee Center; 8pm; (T,Th,Sa)Folksinging/storytelling review Road; ticket info 453-1400 some $55 orchestra & $20 gallery seats of Wisconsin's perspective on WW I; $3; July 29 still available; Pabst Theater, 144 E Wells; Peninsula State Park Amphitheatre, Kern-Hammerstein Night August 11 &12 278-3665 Hwy 42, Fish Creek Music Under the Stars Big Band Concert 8:15pm; free; Washington Park, Lloyd at Norman Leyden and the Chuck Howard August 3-12 Sherman Blvd Orchs strs PliHFOHMAXCli ART Gypsy 8pm; $6-$50; PAC: Uihlein Hall; 273-7206 Arthur Laurents July 30 July 28 & 29 Music by Jule Styne, lyrics by Stephen Oceans of Jazz August 12 Dave Kenney & Rufus Harley Sondheim Oceans and other local groups; 8pm; $6- A Viennese Night Hammer dulcimer & jazz bagpipes; 8pm; T-Su 8pm (except 3pm Aug 6); $7.50/ $50; PAC: Uihlein Hall; 273-7206 Music Under the Stars $7; MAM: Vogel/Helfaer Galleries; 271- $6.50; John Michael Kohler Arts Center, 8:15pm; free; Washington Park, Lloyd at 9508 608 New York, Sheboygan; 1/458-6144 July 30 Sherman Blvd Beethoven's Ninth Symphony September 15-18 August 18-20, 25-27 Milwaukee Symphony at GermanFest; August 14-18 Sleepless Part VII: Finally Hamlet 7pm; $10-$ 18; Marcus Amphitheater, Rainbow Summer Mark Anderson Dale Gutzman has updated Shakespeare's Summerfest grounds August 14: Warrior River Band, Alverno College, 3401 S 39th; 382-6044 play to the 20th century; F,S 8pm, Su 7pm; bluegrass,gospel $13; PAC: Todd Wehr Theater; 273-7206 July 31-August 4 August 15: Paul Cebar (also at 7:30pm) July 31: Hot Jazz, vocalists August 16: Jean-Andrew Dickmann, sto­ THEATER August 1: Semi Twang (also at 7:30pm) ryteller Now-July 22 August 2: First Stage Milwaukee, theater August 17: Opus, jazz Our Town August 3: Dick Strauss Big Band August 18: St James Gate, Irish Thornton Wilder August 4: Random Walk, jazz Noon-1:15pm; PAC: Peck Pavilion Acacia Theater CompanyTh & Sa 8pm; Noon-1:15pm; PAC: Peck Pavilion Su 2pm; $7 &$9; Eastbrook Center August 17 Theatre, 2844 N Oakland; 962-2380 August 2 Cherish The Ladies Cfaee/fieck Opera Goes to the Movies All-girl group from Ireland via the Bronx; Neal Gittleman, Conductor 7pm; free; Boerner Botanical Gardens, The SummerNights Vocal Quartet 5879 S 92nd; bring your own seating Music from recent movie soundtracks; HE Pnocion DYES • Milwaukee Symphony SummerNights; August 19 8pm; $6-$50; PAC: Uihlein Hall; 273-7206 Barbershop Quartets Concert • Unprimed 8pm; free; Washington Park, Lloyd at ARTISTS ASSISTANT CANVAS & LINEN August 3 Sherman Blvd Newberry Brass Quintet Mellow classics; 7pm; free; Boerner Bo­ August 21-25 Inventive artists wanted to provide ideas Custom FRAMING for Paul Maxon paintings and sculp­ tanical Gardens, 5879 S 92nd; bring your Rainbow Summer FRAME AND FABRIC own seating August 21: New Odyssey, percussion tures. Submit sketchbooks, notebooks, August 22: Kojo, reggae (also at 7:30pm) miscellaneous, displaying ingenuity. 1668 IM. WARREN August 3-5 August 23: Cross Town Harmony, barber­ Have resume available. JUST OFF BRADY A The Mikado shop \ Skylight Comic Opera August 24: Sabor, Spanish orchestra $6/hour Concert version of the operetta; Milwau­ August 25: Rainbow's End, jazz il St. Paul Veterinary Clinic !| kee Symphony SummerNights; 8pm; $6- Noon-1:15pm; PAC: Peck Pavilion Paul Maxon, 3427 Lakeshore Road 2B 2620 W. St. Paul • 342-7800 $50; PAC: Uihlein Hall; 273-7206 Sheboygan, Wl 53081 August 24 Quality Care August 4 Russel Brazzel, Clasical Guitarist At All That Jazz 6:30pm; free; Boerner Botanical Gardens, Affordable Racine Symphony Orchestra 5879 S 92nd; bring your own seating Prices! Marquette University Electronic Swing Choir September 1 Art Muscle Monday-Friday 7:30pm; $5; Festival Park, Racine; info 1/ Shall We Dance sales representatives 6 p.m. to 9 p.m. 636-9285 Racine Symphony Orchestra Saturday 7:30pm; $5; Festival Park: Racine; info 1 9:30 a.m. to 6:30 p.m. Art Muscle Magazine is seeking Wm. R. Losch, D.V.M. August 5 636-9285 part-time sales representatives. Encore Echoes Commission basis. Car required. +++e+++n»**—t—i0»»»»***f»»f*n*****t***»t< Music Under the Stars September 3 Call 672-8485 for information. 8:15pm; free; Washington Park, Lloyd at Harmonious Wail Sherman Blvd Vintage jazz; 5pm; free; Boerner Botanical Gardens, 5879 S 92nd; bring your own August 7-11 seating Rainbow Summer August 7: North Water Street, dixieland September 8 CLASSES! August 8: Ko Thi Dance (also at 7:30) Rosenblum/Torke/Reich August 9: Buffalo Shufflers, 20's music Present Music August 10: Singing Angels, children's choir Rosenblum: American Outlaw Visionary August 11: T C Hatter, mime.clown juggler Torke: Vanada LIGHTEN UP !! GROSS HARDWARE Noon-1:15pm; PAC: Peck Pavilion Cope: Dragoon with the & REPAIR Also music by Steve Reich; 8pm; $9; PAC: Bauer Contemporary Ballet THE UNIQUE HARDWARE EXPERIENCE Vogel Hall; 273-7206 964-0110 Modern Energetics 3490 N. Oakland Avenue Jazz Tap Pre-Ballet Stretch For more info call 276-3180 O^IENIAL NEW THAI RESTAURANT For 1923 W. National Ave. SERVICES Superb Thai cuisine RENT 383-4355 call now! = • Typing 1,500 Square Feet Space for creative venture ' 111! All or part or combination studio-living space f48§ s $20 an Inch SLIDES OF YOUR WORK: Photographer specializing in professional quality 35mm $10 extra for typesetting and 4x5 color transparencies from flat work, 3-dimensional, or on-site installation. •>. -- y " •-•-<,*. ";•: 901 E. Clarke • 2572 N. Bremen True, accurate color with even, glare-free Ad Deadline: August 20 Currently Metropolitan Gallery, formerly St. Michael's Waiting Room illumination. (414) 671-6179 265 .5683 36 Art Muscle MADISON ROUNDUP best way to deal with the mural is to People who follow visual art rarely get to Rackstraw Downes, but filtered through cover it with Saran Wrap. C) Commit participate in this sort of excitement the space and 1 ight of Omaha, Nebraska. yourself to repairing the mural while because by the time the work is on the In all the paintings, whether moonlit, denouncing vandalism and the smirk­ walls it has been resolved; and in its firelit or sunlit, his rich but clear palette By Gregory Conniff ing journalism which encourages it. resolution it seems inevitable — awe- is a pas de deux of the warm tones of D) Leave the mural as it is as an accurate inspiring, maybe, but lacking the imper­ late afternoon and cool tones of open symbol of the community's attitude fections that make work human and shadows. Art and the City: Here's a quiz for you. toward art and those who make it. enkindle hope. You are the newly-elected mayor of a Here in Madison, Mayor Soglin chose B Madison painter Carlsen is going through These paintings are part of a series in small white-collar midwestern city. This in relation to Richard Haas' mural adja­ a transition now. The most obvious which the artist, the father of two young city is home to the main campus ofthe cent to Lake Monona. Next question: change is in scale — turning from stan­ children, is examining his past in the state university and is the state capital as How does this differ from D? dard-issue "museum large" to intimate light of his present. They are represen­ well. When your city looks into the work small enough to take with you in tational and about life and full of hope, mirror it sees, like so many other small Art to Watch: Even if it weren't the carry-on luggage. The more interesting but they generate a shiver that saves midwestern cities, Athens. Dotted slow time for gallery visits I would rec­ change, though, is the presence of the them from being either conservative or around your city are examples of publ ic ommend checking out Barry Carlsen's artist at the heart of the work. In these anti-art. This subtle disquietude comes art, signs of a cultured community. from his ability to develop a sense of However, overthe past fewyears nearly spatial anxiety which, like a faint trace ever piece of such art has been defaced of smoke from an invisible fire, alerts us by vandals — some repeatedly. One of to hidden danger. The unease he com­ your opponents in the mayoral contest municates is the very essence of being was one of these vandals and made it a alone in a large and quiet place and proud part of his campaign. No one suddenly feeling watched and alien. It even blinked. The local paper of rec­ is also the friction that accompanies ord, which is enthusiastic about the acting ort desire in the face of the un­ start of your tenure, within the year ran known. And, for this artist, it appears to a feature article which drew an explicit be an honest trembl ing at the forces un­ equivalence between public art and leashed by those who loved him as a rape. Not that one led to the other, but child and the forces he in turn is loosing that they were the same thing. Again, in the family he has made and the call­ no one blinked. ing he has followed. There is no ques­ tion of his turning back, but he has the It is now late spring. It is going on a year courage to acknowledge his fear. since vandals hurled paint over a mural done by an artist of international stature Carlsen will have another show in Madi­ who was born and educated in your son this winter. See this one and that area, though he now lives elsewhere. one and maybe you can say you knew The mural remains disfigured. Report­ him when. ers keep asking you about its repair. Bany Carlsen, Shared Gift, 1988, oil & board 6x10" What would you do? In formulating an Miscellany: The Madison Arts Center answer you may assume that spring presents a series of free concerts featur­ rains made the grass grow on the soft- paintings at the Wisconsin Academy paintings Carlsen has turned his back on ing the work of contemporary Wiscon­ ball diamond out-fields. In addition you (August 1-30). At the time of writing this the easily achieved seriousness of intel­ sin composers at 1:30 p.m. on Sundays may assume that you are a politician. column half the show isn't completed, lectual/artistic angst. Instead he has July 30 (Leo Ornstein) and August 20 but his recent showings at Natasha turned toward us and toward a lyric ex­ (Roscoe Mitchell and Gregoria Karides Some choices: A) Paint over the mural Nicholson Works of Art make it a strong ploration of desires and fears triggered Suchy). The Wisconsin Chamber Or­ and be done with it. B) Take a firm bet that this will be a rewarding exhibit by the landscapes of his youth. The work chestra presents another series of light stand against grounders lost in the for those who appreciate intelligent, is direct without being pedestrian, know­ classics for chatty picnickers on the weeds, deploy your mowers, and sug­ self-confident work that has the nerve ing without being coy and suffused with Capital lawn. Wednesday evenings (it gest over your shoulder that maybe the to deal directly with matters ofthe heart. a sense of light that is both accurate and starts when you get there; this is less a the stuff of deep dreaming. Not every concert than an event with music) Artists know the times when their work painting hits the mark, but it is not for through August 2. Radio station WORT undergoes major changes. They expe­ lack of the right target. Even when he is arting up its cinder block shoebox of rience in those moments the conscious­ misses you know what he wanted and a building with a community-gener­ Emperor Say: ness of doing something new and the that he'll probably nail it next time. And ated mural — bring an idea, bring a when he does, your heart races. brush (call 256-2001 for details). The "Wonderful journey thrill of feeling it begin to get right. These moments, when they are genu­ Dane County Cultural Affairs Commis­ begin with just one bite sion and the Madison Committee for at Emperor of China"! ine, are as rare as dreams of flying and The paintings divide naturally into three as delicious as the feeling of waking up groups — one has the character of sets the Arts are giving out two $5,000 visual arts fellowships to Dane County artists. • Over 100 kitchen tested entrees. laughing. People who follow perform­ for a dark urban film, another develops For information contact DCCAC 266- • Freshest ingredients and home-made ers can watch them struggling in new an ambiguous relationship with nature 5915. Deadline is Sept. 1. You cannot sauces; never frozen, never processed. territories and can share vicariously in in the forms of forest and water, and the the thrill of breaking through barriers. third has the flavor of cityscapes of realist win if you do not play. y|)ew delivery service. • Carryouts • Cocktail lounge/Exotic Drinks MADISON *£ »- 4-< August 30-October 7 EVENTS Installations ART EXHIBITIONS 2- & 3-dimensional works installed with July 14-23 furniture, decorative arts, ethnic & folk Madison Festival of the Lakes Elvejhem Museum of Art arts; a collaboration with Madison area Theater, music, sports, food & more; info Chinese Restaurant Now-August 13 antique & furniture dealers; 100 S Bald­ 608/255-0701 1010 EAST BRADY, MILWAUKEE, Wl 53202J Contemporary Prints from the Permanent win; 608/256-3220 (414)271-8889 Collection MUSIC Prints from the 1980s acquired in the last Spaightwood Galleries 4 years; Now-July 30 Barrymore Theatre 800 University Ave; 608/263-2246 Joan Gardy Artigas: Sculptures, Draw­ July 21 ings, Monotypes & Prints Laura Nyro Madison Art Center August 4-September 10 8pm; $12.50-$14.50; 2090 Atwood Ave; Now-July 30 The Woman Within: Works by Claude Ga- 608/241-2345 Graphite Ground rache, Alberto Giocometti, Phyllis McGib­ Liz Phillips, soundscape/installation; bon & Joan Root Madison Art Center Now-August 27 September 15-October 15 1989 Wisconsin Composers Showcase Deep Station German & Netherlandish Printmakers of July 30: Leo Ornstein (De Pere) Donna Dennis, reduced-scale installation the Renaissance; also August 20: Roscoe Mitchell (Madison) & of a subway; German Expressionist Prints Gregoria Karides Suchy (Milw) Urban Images 1150 Spaight Street; 608/255-3043 1:30pm; free; 211 State; 608/257-0158 Works which focus on the urban land­ scape; Survival Graphics THEATER August 5-October 29 Now-July 31 Jeffrey Silverthorne AIDS Art July 21-23 Photographs of "altered realities- Anita Jung, Mario Laplante, Wendy Muk- The Boys Next Door September 9-November 12 luk, Michael Starkman & Katie Veit; 853 Tom Griffith Coming of Age: 21 Years of Collecting by Williamson; 608/251-2440 Madison Repertory Theatre the Madison Art Center; Twentieth Cen­ Poignant comedy about 4 mentally re­ tury Art DANCE tarded adults; F 8pm, Sa 8:30pm, Su 2pm; 211 State; 608/257-0158 $10.50 & $14.50; Madison Civic Center: July 21-23 Isthmus Playhouse, 211 State; 608/266- Natasha Nicholson/Works of Art Bolshoi Ballet Academy 9055 July 19-August 19 F,Sa 8pm, Su 3pm; $15-$25; Madison Drawings Civic Center: Oscar Mayer Theatre, 211 September 1-23 Alan Fierro, Phyllis McGibbon, Linda State; 608/266-9055 Balancing Act: Feminists can be funny James, Guy Church, Carter Todd, Paul Ark Repertory Theatre Georges, Jeffrey Ripple & Bob Schultz F, Sa8pm; 220 N Bassett; 608/256-NOAH

37 CHICAGO ROUNDUP rectly through the billowing velvet to large canvas, maintaining the nihilis­ the viewer. The work is the voyeur tic imagery characteristic of Brown, FfMAt** S New York Mirror IKZ and the viewer is the subject/object. depicts the Exxon oil disaster. In addition, this piece projects a shelf on By Michelle Grabner ARC Gallery featured paintings by which taxidermiedanimalsrest. These Maryann Golden Leejune 6 through creatures, oblivious to the narrative of June 30. Small expressionistic paint­ the painting, seem to parody the re­ Andy Warhol: A Retrospective is 129 DIE ings with quotes from the Egyptian cent work of Haim Steinbach as well on view at the Art Institute of Chicago Book oftheDeadzs titles comprise the as play the role of oil spill victim. Next this summer from June 3 through invitational space. Golden Lee's most year Art Expo is slated for May 10 August 13 before traveling to exhibi­ dramatic paintings reveal photo­ through 15. tions in Western Europe. The Warhol graphic images of emaciated yellow retrospective, organized by the Mu­ hands. In combination with paint ap­ Changing Chicago, a recent project seum of Modern Art, New York, pro­ plication these images are powerful involving the photographic documen­ voked ultra-conservative critic Hilton puzzles derivative of horrific movie tation of Chicago under various cate­ Kramer to remark that the museum stills. The three works employing gories, includes over 600 prints by 33 would better serve itself and the public both the photographic image and paint Chicago and vicinity photographers. by closing its doors from February 6 are predominant over the other work Milwaukee photographer Dick Blau through May 2, the duration of the whose interest is only in paint han­ contributed to the Cultural Diversity MOMA exhibition. This ridiculous dling and surface. genre, while Wauwatosa photogra­ commentary only confirms the im­ pher Lindsey Lochman, in collabora­ pact Warhol and his work made on The annual, frenzied International tion with Barbara Ciurej, contributed the art world. Being the most signifi­ Art Exposition at Chicago's Navy to Architecture and the Workplace. cant art personality and producer since Andy Warhol, 129 Die in Jet (Plane Crash), 1962 Pier came and went with predictable This ambitious project modeled itself Jackson Pollock, this retrospective Art Institute of Chicago highlights. Warhols, Rauschenbergs after the 1930s and '40s Farm Security should not be missed. More than 273 and Beuys' occupied the highest per­ Administration works. Five cultural drawings, paintings, photographs and Assumption, a group show, occu­ centage of the viewer's peripheral institutions in Chicago participated in sculptures make up the exhibition, pied N.A.M.E. Gallery during the vision. The viewer was disappointed the exhibition. Currently exhibiting which is divided into such theme month of June. Its curators, Irene if anticipating new work by contem­ Changing Chicago projects are rooms as the soup can room, the Mao Tsatsos and Dani K. selected artists porary feminist artists such as Sher­ Chicago's Field Museum and the Chi­ room, the death and disaster room, whose work presents the viewer with man, Kruger and Lawler; one had to cago Historical Society. The historical etc. Warhol's smaller works are the such questions and premises as "Why settle for works four to five years old. Society, which will permanently house most approachable given the dense are you looking here?" and "We don't Even the notorious Jeff Koons was the entire project, is also exhibiting crowds and the box-like exhibition want your trust." As is the case with scantly represented with a 1986 work by FSA photographers. Prints space. A pencil drawing with washes most theme shows, some works in Bacardi Rum canvas. The conceptual by Russell Lee and Jack Delano are from 1961 depicting a generic tin can Assumption are more successful than and decorative implications of gold social curiosities yet formally beauti­ is especially insightful, presenting the others. A small alabaster sculpure by leaf have become fashionable with a ful. Contemporary contributions to viewer with a heroic scale of a proto­ Chris Howard equates the translu- great many artists as well as sporting Changing Chicago at the Historical type soup can. The round medallion cency of the stone and the aesthetics single names. Irwin, a Yugoslavian Society include Patty Carrol's count­ canvases with a single image of Mari­ ofthe chisel mark with popular enter­ artist represented by the New York less color prints of Chicago's campy lyn Monroe are a humorous alterna­ tainment by presenting the viewer with gallery Bess Cutler, not only projects a hot dog stands. Photographer Lloyd tive to the multiple grids of celebrities the emergence of a television tube high profile name but also constructs De Grane captures working class inte­ synonymous with Warhol. The entire from the alabaster. The expectations emblematically powerful pieces. Em­ riors inhabited by TVs and the con­ exhibit is ripe with sarcasm and wit, of the sculptor are questioned when ploying collage and assemblage tech­ tented viewer. The family dog, Old blurring distinctions between mass traditional methods and materials give niques, Irwin's small to moderately Style cans, plaid couches and oscillat­ culture and the art apparatus. Yet form to untraditional subjects. Mike sized works maintain a vocabulary of ing fans become the visual vocabu­ crowds herd past the work at the com­ Love's The Death o/Schubertis a wall images and objects derived from East­ lary of De Grane's south side narra­ mand of their $3 audio tours, venerat­ assemblage consisting of a panel and ern politics and sport-hunting. Roger tive. The Chicago Historical Society ing, not laughing. Advanced tickets presumably a bust of Schubert Brown's cynicism toward cultural and will have work from the Changing for Andy Warhol: A Retrospective wrapped in red velvet except for a political issues was apparent to the Chicago project on view through July are recommended and are available small hole cut for the figure's eyes. viewer as they circulated through 31 and the Field Museum's exhibition at all Ticketron outlets. The peering eyes of the bust cut di­ Phyllis Kind's exposition space. One will run through September 4.

CHICAGO

ART EXHIBITIONS Klein Gallery School of the Art Institute of Chicago Now-Summer Now-August 11 Art Institute of Chicago Rotating group show of gallery artists; Skrebinski Now-July 30 Temporary space: Merchandise Mart; info 25 silver gelatin prints from a series of From Michelangelo to Rembrandt: 312/787-0400 nude studies & photographs of Paris; Master Drawings from the Teylers Mu­ Jackson Blvd at Columbus Dr seum Museum of Contemporary Art Gallery 2 Premier US exhibition of works on paper Now-July 23 Now-July 22 from the Netherlands museum; Options 36: Mark Innerst Rosann Cherubini, sculptural installations Now-August 13 July 29-September 19 Joseph Matunis, a comic book novel Andy Warhol: A Retrospective Peter Saul Retrospective July 28-August 19 Now-Sept 18 30-35 paintings, 1960-present; outrageous Jacqueling Chang, mixed media con­ French Avant-garde Architecture social commentary struction Michigan at Adams; 312/443-3626 July 29-October 15 James Lambert, sculptures; 1040 W Arnulf Ranier Huron; 312;443-7284 Catherine Edeiman Gallery 90 works surveying the Viennese artist's Now-July 22 work including body paintings, over paint­ FILM Allen Ginsberg & Annie Leibovitz ings & death masks as well as more recent Portraits works; 237 E Ontario; 312/280-5161 Randolph Street Gallery July 28-August 26 July 28-30 Group Photography Show Museum of Contemporary Photography Festival Cinema Borealis Pamela Bannos, Robert Flynt, Sylvia Wolf Now-July 29 July 28: Ran (Akiro Kurosawa, 1985) & Jeffrey Wolin Little League Baseball July 29:2001: A Space Odyssey (Stanley September 8-October 7 Mark Steinmetz; also Kubrick, 1968) John Reuter & J Wayne Olson Behold; photographs from the permanent July 30: Days of Heaven (Terence Malik, Polaroid & mixed media works collection; 600 S Michigan; 312/663-5554 Allen Ginsberg, Portrait of Jack Kerouac, 1953 1978) 300 W Superior; 312/266-2350 Catherine Edeiman Gallery Free; films will be shown at dusk (8:30- N.A.M.E. Gallery 9pm) outdoors at Lincoln Park between Ehlers Caudill Gallery Ltd Now-July 22 Stockton Drive & North Pond, just north Now-August 12 Young Artists After School of Fullerton; info 312/666-7737 Patty Carroll, Lewis Koch & Sandra 700 N Carpenter; 312/226-0671 Newbury 750 N Orleans; 312/642-8611 The Peace Museum Ruth Volid Gallery MUSIC Now-Sept 30 Now-September 1 Galleria Renata Vietnam Veterans Memorial: A National Ex­ Works of & on paper Ravinia Festival Now-July 22 perience August 11-September 1 Now-September 3 Kemal & Biserka Gall 70 B/W photos depicting events surround­ Cityscapes A variety of classical & contemporary Water colors, pastels acrylics & etching; ing the Memorial in 1982 & 1984; also Aligimantas Kezys' photographs from musical performances; 1575 Oakwood, French married couple in joint exhibition; Swords into Plowshares around the world Highland Park; 312/433-8800 507 N Wells; 312/644-1607 Art & objects created from recycled war ma­ September 8-October 21 terials; also Florence Putterman: Bird Hand & Man An exhibition of underground newspapers Series Gilman/Gruen Gallery circulated by Gl's protesting the war from Paintings & works on paper; 225 W Illi­ September 8-October 11 within; 430 W Erie; 312/440-1860 nois, Chicago; 312/644-3180 The Adventures of Turtle Woman & Other Stories Pat Hidson; acrylics on paper; 224 W Su­ perior 38 Art Muscle W*LK THIS W*Y

The answer is trash By Jerome Schultz panel of experts. The special didn't deliver. There was no identity answer, no satisfaction. To daycare minds, it Decisions, decisons. Do I buy the Bat­ could have been a pizza sampling at the man hair crimper or should I get the supermarket. The same critical struc­ Lethal Weapon 2pillowcases? And what ture, except the TV special's Pavlov about the Ghostbusters II wine cooler/ motive was a diet of containment, not pifia colada picnic set complete with a consumption. The Ripper fetish then thai spicerack. I'm confused. It's sum­ interfaced with Hellraiser I. The need mer time again and my mind is in humid­ and desire to sacrifice the male victims ity-index meltdown. Time to escape to for this generic sadist paralleled the plot air-conditioned comfort and send up of Hellraiser I, where a man was reincar­ freon offerings to destroy the ozone layer. nated with fresh blood from sacrificed 229 E. Wisconsin Ave.. Suite 400 Milw.. Wl 53202 Milwaukee is in a Big Swig mindset. Am males. Throw in a little Shining cliche I having lyme disease yet? Our daycare culture stampedes with herd mentality. into this brew and you're Kacking. It's a stand in line, take a number, thank -4838 you for participating world. We can't go While the "red rums" blatant emission of home, so we go to the movies and TV. iconic horror signifiers aroused the press, their invention of the new word, Kack­ ing. (n. the process of stalking a male Recently Milwaukee refreshingly entered victim for sacrifice, v. the act of splitting the Big Picture of mass culture trash. No, Sounding the Depths: open a male sacrificial victim's fore­ not Major League again. We're talking head with an axe), got lost in believe it 150 Years of American Seascape about Father Gene and the "red rum or not headlines. The word, just as girls." Say it isn't so, Father Gene. And bizarre as wilding, currently has a spe­ that's exactly what he did. Preacher-sex cific meaning and referent. Hopefully it scandal finally hit Milwaukee big time will expand and enter into American with the disclosure that Father Gene, the slang and folklore. In the future kacking Minister Rogers of the Perry Como set, could be applied to describe a female had allegedly violated his celibacy vow C terrorist or any 'hard to get' woman. with an affair. Unlike Jim and Tammy Kacking could be a future dissertation Baker and Jimmy Swaggart, his TV con­ subject, a west coast college studies fession offered no public display of un­ > program, a Geraldo special. 3 controlled tears and running make-up. Like Rob Lowe, he publicly confessed to nothing, and left it to a press release to Like Arthur Bremer, Happy Days and c do the talking while he skipped town. Hildegard, Kacking is a true Milwaukee How long before there are Father Gene phenomenon projecting Milwaukee into sightings in Vegas or Disneyland? Is the the national spotlight and pop folklore. oLn answer love or is it lust? We'll never "I'makacker. She's a kacker. Wouldn't know. you like to be a kacker too?" I can see Kacker beer ads featuring a aluminum can being split open by a fire ax. A 13 While the Father Gene HELP scheme n Kacker clothing line of shredded and O flashed for only one moment in time, the torn jeans with the simple come-on "For "red rum girls" made a future footnote in the real cut-ups." Or a Kacker fax line Milwaukee history. Featured on Head­ "For when it has to get there lickety- line News and Inside Edition, their Hell- split." 3 raiser quest, an homage to Jack the Rip­ o per, became a radiated spectacle of Wait a minute. I just noticed my Batman monitor meltdown. The "red rums" had crimper was made by a foreign company D locked into an aura where "TheTVglows, named Kack, Inc. Hey! My air condi­ but it isn't on," 'cause "It's Showtime!" I tioner just stopped running. The toll- free number for service information is 1- The "red rums" inspired by TV and Hol­ 800-KACK. Excuse me, I need HELP. lywood, fused with the video image and Where's my shower!? •«**< became a projector of slasher films. Their Birds ofthe Bagaduce, 1939, Marsden Hartley fixation with Jack was motivated by a TV Collection ofthe Butler Institute of American Art Special. Aired last October with the Organized by the American Federation of Arts and promise of revealing the Ripper's iden­ Supported by the National Endowment for the Arts. tity, the special featured re-creations of (Walk This Way is a regular column about contemporary culture). Locally sponsored by Ripper attacks with commentary by a

An evening Q First Interstate Bank lfvifiipRufus Harleyr the world's onl|||:':'% jazz bagpiper anil|:{pave llenney> playing *h« Ktiinmer- *;C d|il

MILWAUKH ART M U S £ U M VOGEt/HELFAER GAU.ERIES Tickets avoilable at *• door. Advance tickets; Milwaukee Art Museum Shop {Museum hours): $ 7, $6 Art Museum members ond students. JNFORMATION: 4l4.37t.9S08 |A Performance/ Art 1989 event, *> K»m,< funded in part t»V **wr* fth.Natior^ * F*|l> Endowment for SATUR ?&& 241 N. Broadway, Milwaukee, Wl 53202 (414) 273-3727 the Arts. 39