II A BI-MONTHLY PUBLICATION OF THE ARTS Volume 6, Issue 1 Complimentary SEPTEMBER 15/DECEMBER 1,1991
AAA from the editor
Editor-in-Chief When Art Muscle Magazine approached us here at The Milwaukee Times, we were not only intrigued but welcomed the opportunity to collaborate with the city's foremost publication of the arts. Being committed to all Debra Brehmer the positive aspects of the African American community, the editorial board at the Times felt a closer look at black art forms was warranted. Art Muscle remains the best vehicle with which to do something like this. Associate Editor Calendar Editor As art is a reflection of a particular culture, it is not only important, but interesting, to take a broad look at black Business Manager art in its various expressions. African American art is not as popular or publicized as mainstream art. This may Therese Gantz be because patronage of black art in the black community is not widespread, or because other communities are not particularly interested in understanding a different culture. We suspect a combination thereof. Associate Editor-Music Bobby DuPah And so, we were able to share our knowledge of art in the black community, and coupled with the expertise at Art Muscle, a happy union had been formed. During the course of our mutual brainstorming sessions, it dawned on both editorial boards that there is more to art in the African American community than meets the Editorial Assistants eye, and that one issue of Art Muscle might not cover black art in its entirety. But to make an initial foray into Judith Ann Moriarty, Mark Bucher the world of black art in Milwaukee has proven to be an enlightening experience. & Niccona Teichert
Last fall, an exhibit called Black Art, Ancestral Legacy came to the Milwaukee Art Museum. The exhibit was multi- Photo Editor faceted and a success. Yet, to focus solely on the African influence in contemporary black art is to sell the black Francis Ford culture short. There are many other fascinating aspects of this culture as reflected by its creativity. Music, literature, dance and modern expression are all integral parts of the African American art world. The diversity Design of art in the black community may transcend that of any other culture. If one thinks about rap and Gospel music, Chris Bleiler rap dancing, the African influence of some local dance troupes, and the stories being told by local African American film and theatre directors, there is much to experience. Sales Angel French, Sales Manager The only regret that we share with Art Muscle was our inability to schedule an interview with Alderman Michael McGee. After being initially fold that Aid. McGee would consent to an interview but that he was busy, we have since been unable to establish any contact whatsoever. Being an influential figure in the black community, all Printing by Port Publications of us felt this issue of Art Muscle would be well complemented by some insight from McGee, particularly on urban conditions. No chronicling of black culture in Milwaukee is quite complete without some inclusion of McGee. Unfortunately, though, McGee had a different agenda. FRIENDS OF ART MUSCLE Perry & Bobbie Dinkin Ellen Checota Art Muscle endeavors to explore the many different styles of art in Milwaukee. We hope they have enjoyed their Barbara & Jack Recht Barbara Kohl-Spiro experience in the African American art world, and we hope we were able to help in being something of a tour Jim Newhouse Thelma & Sheldon Friedman Peter Goldberg Mary & Mark Timpany guide. We also hope they will consider a future issue in a similar context. Theo Kitsch Dr. Clarence E. Kusik The Milwaukee Times editorial board: Gerald Pelrine Tina Peterman Jay Brown Babcock Mechanical Nathan Conyers, president and publisher Christine Prevetti Katie Minahan Richard & Marilyn Radke Richard Cler Lynda J. Jackson, chief of staff Patti Davis Dennis Hajewsky Stephen J. Biersdorf, editor Harvey & Lynn Goldstein Robert A. Holzhauer Robert Johnston Gary T. Black Polly & Giles Daeger Joel & Mary Pfeiffer Judith Kuhn Nicholas Topping This is the first time Art Muscle has collaborated editorially with another publication and it was an extremely C. Garrett Morriss Dorothy Brehmer rewarding experience. Although we have earmarked this issue "Black art and culture," it is by no means an Karen Johnson Boyd Geralyn Cannon Tim Holte/Debra Vest Roger Hyman annual tip of the hat to that community. I've always had reservations about segregated art exhibitions — feminist Jack & Ellen Welter Dean Weller Arthur & Flora Cohen Remy art, black art— so in the same sense, I questioned doing an issue devoted solely to black art. All of our issues Sandra Butler David & Madeleine Lubar should, and often do, deal with minority/ethnic art forms. Yet we felt by focusing on this theme we could devote Jimmy G. Scharnek Sidney & Elaine Friedman Mike & Joyce Winter Carolyn & Leon Travanti several concentrated months to establishing new ties and friendships with a community we need to learn much Mary Joe Donovan James B. Chase Jerome J. Luy Cynthia Kahn more about. The project has certainly opened our eyes and minds to the vitality of the black community's artistic Nate Holman Chris Baugniet output as well as its problems. This successful collabration with The Milwaukee Times has encouraged us to Patrick Farrell Riveredge Galleries Albert & Ann Deshur Bob Brue continue such endeavors. In that vein, the next issue of Art Muscle, running December 1 to February 1, will be Pam Jacobs Jewelry Burt & Enid Dinkin Ginny & Gerry Bobbins Ello & Guido Brink guest edited by Milwaukee art historian and freelance critic Frank Lewis. The issue will focus on photography Taglin Enterprises/Access Milw James & Marie Seder and mass media. Harry W. Schwartz Bookshops Randi & John Clark Robert E. Klavetter Keith M. Collis Linda Richman Jewelry Mary Paul Richard Warzynski Joan Krause I want to again thank the Times staff for their work and enthusiasm. Putting out a weekly newspaper is certainly Janet Treacy Morton & Joyce Phillips Monica Cannon Haskell Delphine & John Cannon a consuming enough responsibility, yet they were willing to take on the additional labor of this special issue. Daniel S. Weinberg Jim & Julie Ansfield When I first met Times publisher Nathan Conyers at a luncheon where we shared the podium as guest speakers, Sharon L. Winderl Mary Streich Dori & Sam Chortek Carole & Adam Glass I was immediately impressed by his directness and his commitment to the black community. Conyers' approach Diane & David Buck Janet & Marvin Fishman William James Taylor is positive. He aggressively works to make life better in Milwaukee, yet he isn't one for ignoring the realities and Steve & Amy Palec Julie & Richard Staniszewski Kathy & Neal Pollack Jamie Ross problems that plague the community. When we met I asked him if the recession had affected the business end Blue Dolphin Gallery Club Brookfield East High School Arts of his publication. He laughed, grabbed my hand and, like a teacher to his pupil, said "When you run a minority press, it's always a recession." Yes indeed. To become a FRIEND OF ART MUSCLE, send a check for $50 which entitles you to Debra Brehmer receive Art Muscle for one year and gets your name on the masthead! Editor - Art Muscle
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, We've moved: Our new address is 901 W. National Ave., Milwaukee, 53204. Milwaukee, Wl 53203. We've moved two doors down and are now on the corner Entire contents copyright © Art Muscle- of 9th and National. Stop in and see our new digs. Milwaukee, Inc. All rights reserved, except in reviews. Reproduction in whole or in part without permission is prohibited. Art Muscle is a trademark of Art Muscle-Milwaukee, Inc. Cover: Fake Insanity, 1991, by Milwaukee artist Patrick Turner.
Subscription rates in continental U.S.:$12 one year; elsewhere, $16 one year. ftfeffif
George Gist By Judith Ann Moriarty Patrick Turner By Debra Brehmer Loretta Jordan By Debra Brehmer Charly Palmer By Judith Ann Moriarty Ammar Kevin Tate By Debra Brehmer Reginald Finlayson By Debra Kay Vest Evelyn Patricia Terry By Jacqueline Richards Uzuri Gallery By Niccona Teichert Iverson White By Stephen J. Biersdorf Mel Rhyne By Bobby DuPah Gospel Music By Cynthia R. Davis Ko-Thi ByRuthYasko Two Views Of Jeffrey Dahmer By Julia Romanski By Jerome Schultz Clubs By Frances Sherwood
Departm ts
Letters Review/Preview AGOG Calendar Madison Roundup Chicago Roundup Robert Henri, The Art Student, Portrait of Miss Josephine Nivison (detail), 1906, Milwaukee Art Museum. POSNER GALLERY PAINTERS of a NEW CENTURY
Photo by Dave Ileritsch Acquired on Recent Trip to
September 6 - November 3,1991 ASMAT AND PAPUA, NEW GUINEA
More than eighty paintings, watercolors and pastels in a major reevaluation of the pioneering Body Ornaments Musical Instruments American Modernists. Decorated Canoes v Pottery Organized by the Milwaukee Art Museum. The exhibition is sponsored by the lila Wallace-Reader's Digest Fund. Hand Carved Masks Standing Sculpture Additional local funding provided by Journal Communications. Headrests Story Boards Jewelry Walking Sticks MILS&IIKEE ART MUS OPENING GALLERY NIGHT, OCTOBER 18, 5 PM TO 9 PM EUM GALLERY HOURS: 9:00 AM TO 5:00 PM TUESDAY - SATURDAY 750 NORTH LINCOLN MEMORIAL DRIVE MILWAUKEE, WISCO NSI N USA 53202 207 N. Milwaukee Street, Milwaukee, Wl 53202 Phone (414) 273-3097 Fax (414) 273-1436
The most extensive selection PAULA BUNCH monotypes JESSE GREGG of African-American art in the fused glass & furniture Through October 19
Milwaukee area MICHAEL BOKROSH III glass
: ••itiiirm vV'-^-Vwrii. *x. ~. <«&«*?»;* NANCY MARKS iiiSSlSfi^SilSSto FINE ART watercolor October 25-November 23 .'"•ff* 1 *«lwillPi:|l|||s l EXCITING DAVID GOLDHAGEN and HOLIDAY GIFTS :: itllii 1111*" -iAil November 29-December 31 JsaUBBBEk 5 lli; iii:>;. .§ GLASS SliSliii s m Wii "i'i"
NEW
GIFTS
Faith Ringgold, Tar Beach dFMm Artists include GALLERY Faith Ringgold Romare Bearden Varnette Honeywood Gerald Diiane Coleman Jacob Lawrence Brenda Joysmith Annie Lee William Tolliver Columbus Knox 1400 WEST MEQU0N ROAD MEQU0N, WISCONSIN 53092 Nautilus 414.241.7040 Art Gallery & Custom Framing HOURS: SUN & MON - BY APPOINTMENT ONLY Bayshore Mall • 5900 ri. Port Washington Road TUES-FRI 11 AM-6PM SAT 11 AM-4PM Milwaukee, Wl 53217 • 963-0717 4 Art Muscle Iris Adler Haggerty Museum of Art COLORED THREADS Kitty Begani Tregea Bevan Marquette University Judith Bird Deborah Brand Kay Chapman WEARABLE ART Tbshie Chigyo Marico Chigyo Judy Corlett Randall Darwell Crispina Ffrench OCTOBER 18 - NOVEMBER 22 Juanita Girardin Karen Halt OPENING RECEPTION & GALLERY NIGHT Tim Harding Ann Clarke Hausknecht Friday, October 18, 5-9 p.m. Ana Lisa Hedstrom Ruth Hodges Bonnie Lee Holland Marliss Borenz Jensen Joppa Designs Judy Krajniak Lynn Larkin Marc Levine Janet Lipkin K. Lee Manuel Mina Norton Robin Richman K. Riley Trudie Roberts Judy Ross Iren Rothenberger Inger Sandberg Julie Silletti Lois Simbach Parrasio Micheli, Young Woman Playing a Lute, oil on canvas Louise Thompson Carole Waller Gloriah Walsh Five Centuries of Italian Painting Coleen Walters Greg Wells 1300-1800 Mary Weithaus Mufty Young from the Sarah Campbell Blaffer Collection JEWELRY ARTISTS (Curated by September 19 - December 29, 1991 Unda Richman)
Arline Rsch Opening Lecture: Laurence Kanter, Curator, Robert Lehman Collection, Joyce Scott, Walking the Dog, 1984, glass, plastic and metal beads, cotton thread, aluminium wire. From a private collection. Tina Fung Holder The Metropolitan Museum of Art, "The Age of Boticelli, Renaissance Gene Pijanowski Joyce Scott's one-person show, l-con-no4>ody/l-con-o-graphy, h currently at the and Baroque Paintings from the Blaffer Collection," September 19, Cororan Gallery of Art, Washington, D.C through Nwernber 17. Hiroko Pijanowski 6 p.m., Straz Hall (next to the Museum) Joyce Scott Elizabeth Tuttle Public Reception in the Museum following the lecture, 7-9 p.m.
wwajent UNIVBW Free Admission KATIE GINGRASS GALLERY 241 N. Broadway, Milwaukee, Wl 53202 (414) 289-0855
13th and Clybourn, Milwaukee MUSEUM OF ART Gallery hours: Mon-Sat 10-5, Sun 10-3
STEPHEN FISCHER RETROSPECTIVE
ALSO FEATURING: Jorge Ulisses Virginio Ferrari Richard Hunt Ed McCullough Zulmiro Caralho Robert Hodgell
David Phelps Lynn Chadwick Frank Morbillo Bill Weaver David Anderson
Peter Haynes JoeMartell
John Hickman
Jesus Morales Ribbons JH, Stephen Fischer
Where PUBLIC WELCOME BY APPOINTMENT Art& 414. 458 . 4798 5215 EVERGREEN DRIVE Nature
SHEBOYGAN, Wl 53081 Meet WOOD GALL Diversity lacking zations diversify their audiences, staff, color because they were already shown in a before we fit into this insular art world? Debra Brehmer's "From the Editor" in your boards, and program content; and another previous show at the mayor's office. Are you last issue was the first time I felt that the $43,199 into a Neighborhood Art Program. saying they were ALL already shown? I You don't know how discrimination feels racial door had been opened on Milwaukee's haven't spoken with a single artist in the unless you've faced it for yourselves. And if "in" art crowd. I have always been sad that 3. The tone of the essay and the review course of putting together this issue that was you don't want to believe that racism and the avant/hip art in this town has always (which appeared elsewhere in the issue) included. Furthermore, we received no invi homophobia exist, then you are unaware. been a "White Man's" club and that only a really misses what is significant about this tation to a reception for that show. To list Crimes of this extent do not occur in a couple of performing arts groups consis event — the generosity of the artists. All the statistics detailing how supportive the city vacuum. As the editor noted: "Where is the tently use minority artists and pursue multic people who participated in this event had has actually been toward artists of color art that speaks from a specific community ultural themes in their work. Our lack of nothing to gain other than contributing to the provides a convincing argument. Yet it is my about cultural issues and conditions? That cultural and racial diversity in our "cutting general appreciation of art in this city. They feeling from participating in the arts commu art remains in the same places as its com edge" art is appalling. I was heartened by were not in anyway "anointed" by the mayor. nity for many years, that we have made little munity .. .ghettoized, marginalized and mis Brehmer's article reminding us what is miss So far as sales and exposure are concerned, progress in acknowledging the diversity of understood." ing in our vision. the artists would have been far better off expressions taking place around us. I agree Johanna Melamed sending the works elsewhere. that certain institutions have begun to reach I commend Art Muscle for their concern in Milwaukee minorities. But having one, usually nation producing an issue on African American art. 4. Finally, the editor would only have to have ally generated, show of black art a year I'm sure this demographic defying feat is in Context needed for read her own publication to be aware of my hardly addresses the limited viewpoint of our some ways risky, and I ask the readers to multicultural discussion personal commitment to cultural diversity. local arts community. To argue that so much contemplate why this publication could fore I was obviously dismayed to see that an art Last year Art Muscle published a panel is already being done, doesn't address the see the necessity for such coverage. Above exhibition I organized in the Mayor's Office discussion Nathan Guequierre and I organ fact that most of it has been ineffectual. We all I ask you to understand all artists and the recently was cited as a bad example in ized and edited which included all of the can only hope, as the '90s unwind, that urgency of their vision. Debra Brehmer's editorial advocating more heads of major art funding and producing these discussions stay in the foreground. Kevin S. Kreger diversity in the arts. Such a claim cries out for institutions, as well as the County Executive, And incidentally, all three of Art Muscle's Milwaukee a context, since ethnocentrism or discrimi where these very issues were confronted salaried employees fit into the minority cate nation can only be understood as a pattern head-on. In a long letter published in Art gory — women. Politics of art of behavior. As it turns out, a little more Muscle I argued against the disparity in arts Debra Brehmer Viva la Anarchie Art Muscle! It took a lot of homework on your part would have provided funding between big, established institu verve to write your comments about the Tom your readers with a more meaningful per tions and small ones and individuals. Racism, homophobia Bamberger and friends show at the mayor's spective. Had you troubled to call me or the are real threats office. The show was littered with artist Mayor's Office, you would have found out Where has Art Muscle been over the past A few days ago I attended a candlelight vigil friends or their lovers careering on the wall at the following: few years while the city and nearly every art held in memoriam of the victims of Jeffrey the taxpayer's expense. If this was a con institution in Milwaukee was worked very Dahmer. As Mayor Norquist began speak temporary showing of local art, why did 1. In planning this exhibition I talked with hard to do just what you are suggesting? ing the crowd listened closely. Our mayor Bamberger show a 10 year old photograph representatives from the Mayor's Office Both the Haggerty and Milwaukee Art Mu appeared ill-prepared to meet the eyes of by pal Dick Blau? about what had recently been exhibited there. seum presented significant exhibitions of those who mourned the loss of friends and We agreed it was important to use artists African-American Art. Last year, Black Art, family. He haltingly described the victims as When the mayor had one of this first fun who have yet to be presented in the Mayor's Ancestral Legacy broke all attendance rec "black," euphemistically noting their "life draisers for election called "Norquist for the office. As a result, many artists of color were ords for the Milwaukee Art Museum, and style differences." Certainly there were quite Arts," I called him and asked what his views not represented in this exhibition because during its run more than 20,000 school chil a few people in the crowd that weren't too were on the arts. His staff member told me their work had just been displayed. Your dren toured it. The Milwaukee Ballet, Mil happy that our Mayor had pointedly not that he had none at this time. Well, he essay fails to indicate that the Mayor has waukee Public Theater, Walkers' Point mentioned the people hardest hit by this obviously hasn't changed his viewpoint. been soliciting art from different parts of the Center for the Arts, and the Milwaukee crime were "Black and Gay." As a result of Jimmy von Milwaukee community for several years and that the Repertory Theater have also produced in this incident, I find myself faulting our youth Milwaukee present exhibition you consider emblematic novative and culturally diverse programming. ful mayor for not speaking out eloquently is merely part of a series that serves as a Recently the Milwaukee Foundation has and with emotion for each and every victim. Clarifies press release error model for the very cultural diversity you call shown a modest increase in funding non- Due to an inaccurate press release which for in your editorial. European art forms. And there is no reason These events may seem irrelevant I am you received from the Walker's Point Center to believe that this list is in any way inclusive. neither apologist nor activist, but I am quickly for the Arts your events listing for the screen 2. Your readers would have been interested becoming a cynic. I am writing this letter in ing of videos by Mark Mars at the Center to learn that last year 23 works from 18 Though I agree with the sentiments of your reference to last month's editorial by Debra misrepresented the artist's work. While we artists were purchased by the city. Ten of the essay, I don't see how our understanding of Brehmer which pointed out the lack of minor attempt to be assiduous in our fact checking works were from seven artists of color. The these difficult issues is furthered by your ity representation at the mayor's art show. I occasionally an error may find its way through city now owns five works by Evelyn Terry, born-again posturing. The issue of cultural was struck by the veracity of the column. It the system. two by The Rev. Blackmon, two by Gerald diversity is not illuminated merely by count was as if it had been written as a pretext to Duane Coleman, five by Ker Vue Vang, ing the number of different-colored faces in the coming tragedy: "We do draw from what We at Walker's Point Center for the Arts take three by Neil Starr, four by Charly Palmer, any particular exhibition any more than by is familiar and close. It's the expedient way. full responsibility for this mistake and would and seven by Alvin Jr. The City has never asking you how many people of color work at But we can't accept this anymore if we want like to apologize to your magazine, your purchased a single work by Fred Art Muscle. the art community and broader community readers, and especially the artist for any Stonehouse, Tom Uttech or anyone else in Tom Bamberger to be viable and alive." In retrospect broader embarrassment or inconvenience which this the show, with the exception of Terese Milwaukee knowledge of our Gay and African American may have caused. Agnew. Recently the Milwaukee Arts Board communities would have saved lives! bought for the new Center Street library 17 Brehmer responds: My editorial was not One of our most important missions is to works from 17 Milwaukee artists of color. intended as a thorough discussion of all the Am I still irrelevant? Or would you like to slap serve the artists in the region and it is par The city recently commissioned two murals issues surrounding ethnic diversity, but me with a list of grants and projects that go ticularly embarrassing to us when through by Reynaldo Hernandez, one of which de merely a means of putting forward some to support minority art just as other people oversight we fail to perform this function. picts 30 significant historical figures of Afri ideas and concerns to hopefully stimulate would care to redirect our attention to a Thank you for your patience. In the future we can-American descent. One of the two sculp just this type of discussion. I think you hit it on listing of social programs that support the will assure artists and the media that we will tures recently commissioned by the City is the head when you say "ethnocentrism or unemployed and disadvantaged? Subsidiz be especially diligent. by Narenda Patel. Four out of 13 members discrimination can only be understood as a ing art is fine, but training people and not Frank C. Lewis of the mayor's newly created arts board are pattern of behavior." It was just such pat giving them a job or patronage is what is Walkers's Point Center for the Arts people of color. Under the leadership of the terns of behavior I was pointing out in ad happening to our minority artists. How long Milwaukee Arts Board, a new High Impact dressing how we habitually organize exhibi will we have to "talk the talk" and "walk the grant put $82,000 of new money into the arts tions that reaffirm existing power structures. walk" to succeed? How long before we are community to help established arts organi You say that you didn't include any artists of judged on the merits of our works? How long
af rican arts
look for us november 1st
ewa dcrfrique
at 2010 north farwell
6 Art Muscle DENNIS UHLIG FINE ART 1932 E. Capitol Drive Shorewood 964-6220
Mexican Textiles/Line and Color The continuation and adaptation of pre-Spanish Cultures
Walker's Point Center for the Arts 9 11 West National Avenue Milwaukee, Wl 53204 672.2787 September 6 - October 27,1991 Tuesday - Friday 11 am - 6 pm, Saturday-Sunday 1-4 pm This exhibition has been funded in part by Miller Brewing Co. and Waste Management of North America 85. <•* •%- '% <"'l •ft C •»«^
GEOFFREY AVERCAMP tally lacking the emotional impact of the for example, who are unable to summa vised), and a multitude of pull-tab games less structured images, they could have rize the purpose of their programs, often at 25 cents, 50 cents or a dollar (no, the Now through Sept. 27 easily been made with any kind of cam getting lost within the idiosyncrasies of odds are not listed on the tickets). And Silver Paper Gallery era. the programs themselves. The male staff then there were those backrooms full of (so to speak) were especially eager to video poker machines. While this show lacks visual continuity, answer Margie's questions, so eager, in the craftsmanship is consistently good fact, that to even pose my own inquiries But this patina of festivity gave way very and shows great promise. If he continues I had to funnel them through Margie, a quickly. There was soon the realization: to work as diligently in the future, rather vivacious blond, if I might say so, a it's easy to be nickel-and dimed to death. Averkamp may yet discover that visual certain number of years my younger, And this willingness to be nickel-and- language he seeks. When he does it will bedecked in a black lingerie top, jeans dimed to death plays in odd irony to the be an exhibition not to be missed. that were painted on, and stiletto heels, recent spate of regressive taxes, during who presented a much more pleasing these times when the rich refuse to pay Cynthia Crigler visage worthy of response than myself, a their fair share, the taxes hanging like slightly balding, bespectacled and middle- swords of Damocles waiting to puncture aged chap. our coiffed pates, each strand of the thread popping, cartoon-style — poing! poing! POTAWATOMI BINGO By my reckoning, there were 1,200-1,500 poing!—from the pendant weight. What many begrudgingly accept in the realm of 1721 West Canal Street in attendance. A slow night, according to Geoffrey Averkamp, Balanced Rock, 1990. staff. And since it was a slow night, Mar domestic economic policy, they gleefully I firstcam e across Averkamp's work when gie and I had plenty of elbow room to accept under these gaming situations — jurying the 1990 Third Ward Photo Con arrange our talismans about us — for in the hopes of winning The Jackpot so test. My fellow jurors and I unanimously myself, several scapulars which mysteri that they can move to the suburbs, or at awarded first place to the five large, ously survived a lightning fire years ago; least help pay the property taxes. evocative images of ships in the harbor. for Margie, a set of 12 Matreshka dolls she Otto Stuge Made with a pinhole camera (a light tight received from an eccentric old flame of container with a tiny hole, instead of a hers, a disabled sailor who was living the DEGENERATE glass lens, through which unfocused light contemplative life near Point Reyes Na passes to expose the film in the back tional Seashore in California. Our talis AND OUTSIDER ART box), the warm-toned prints had a soft mans were not the only ones bedecking In The Cultural Mecca of Milwaukee ness that lent an eerie quality to the these striae of cafeteria tables. Within our August 3-23 massive vessels and a consistency of vi vicinity were gilt-framed photographs of UW-Milwaukee, Fine Arts Gallery sion. a grandmother's children and grandchil dren enshrined in front of her; a tableau R. Holland, the show's organizer, states in In this current work he continues to of miniaturized plastic deer, complete the catalogue, "I'd rather have you say explore the pinhole process using im with shrubbery and other injection- this is shit, than to go away indifferent..." ages of other man-made structures. The molded flora; and a needlepoint bingo effect is one of experimentation, an ex purse adorned with the owner's lucky While I didn't go away indifferent, only ploration that sometimes wanders off the numbers. half of the work made it worthwhile. Lois mark. He seems to be searching for a way Geiger-Campagna, from Big Bend, fell of seeing that coincides with the primi Photo by Jim Brozek The play of the regular session was busi into that category. Though her pastels are tive technology. If it's not exactly po' f okes pleasures, then ness-like and quickly paced, not hurried, filled with figures fighting fire and brim it's certainly working fokes pleasures. and it would allow for the occasional di stone, she is technically skilled and her There is a split in these works almost as if And if the pleasures are in the potentials gression — a simple banter between five 1989 pieces were exciting despite the different photographers had made them. for winning — Damn! Just missed it! I'll Margie and myself, a chat with neighbor depressing content. The theme of the Some of the works are about geometry— get the next one! — then the pains are in ing bingoists. The modus operandi was Degenerate exhibit was "chaos," but the photographic image as a 2D design— the tyranny of the numbers. to first show the elected bingo ball on the Campagna didn't bury the message in reminiscent of 1920's Russian Constructiv numerous television monitors, and then shovels full of you know what! Her im ism. Some evoke an atmosphere similar And the house always wins. to announce its alphanumeric designa ages were sharp, colorful, and composed to the Romantic painters of the 19th tion. At the moment it was announced, with a talented sense of push and pull. Century. Two photographs combine My wife, Margie, and I attended Potawat- the next ball came into view on the Not so for half of the artists, whose grim geometry and Romanticism in a sort of omi Bingo on a mild midsummer's eve monitors. Since I am more orally/aurally determination to express horror, drowned fractured Cubism. Another two explore ning. Since my paycheck was still a week oriented, I tended to keep my head down, their efforts in sophomoric anguish, and landscape and one is an abstract, unread away, and since Margie, who contracts eyes glued to the game boards, and to blurred their vision ad nauseum. able image that looks like a double expo herself to Major Milwaukee Institutions, listen for those seraphic alphanumerics. sure. must often wait 90 days until payment Margie, being more visually oriented, was R. Holland's Did You ever feel like Hold (the bane of small contractors in service attuned to the monitors. This necessi ing a Gun to your Head ? made me feel Hay recalls Caspar David Friedrich with to the corporate world), we both opted tated some delicate bobbing and weav like doing just that. Full of drips, runs, and its misty light and feeling of looking for the bargain basement admission called ing on our part to avoid collisions, not splashes, the murky washes of water- through reality to some higher, unseen the "green pack" — $25 a head for the entirely successful, exacerbated by our based media combined with poorly drawn plain. Or Albert Bierstadt, in its sensual regular session, about 28 consecutive other contrapuntal tendencies: while I figures borrowed from Munch's72?e depiction of surfaces. Looking up at two games. (For $50 you can get what's called bend dexter, Margie bends sinister; and Scream were repeated in each of his five freeway overpasses that curve together the "emerald pack," which gives you a while Margie believes in the inherent raw edged canvasses. Four small pieces in the center, the soft focus distorts the chance to double your winnings on cer goodness of humanity, I believe that (mixed media on magazine covers), vertical pilons as they appear to be float tain games. Other admissions include the Original Sin actually exists and was not drawn by someone else, and reworked ing off into space. red/ruby packs at $45/90 and the gold/ merely a tool of the clerics to keep the hoi by Holland, were considerably better, double gold packs at $65/130.) polloi in their places, through I certainly but the best of his offerings, billed as his acknowledge that the notion was used in RR shows a bridge across a river, shot favorite possession, was a beautifully such manner. from water level. In the lower corner, the Not being bingo beings, but rather being crafted motorcycle, a 1982 Yamaha 920 bridge's reflection ripples into pieces bingo neophytes about to bungle — my virago. He is (apparently) trying to sell while above, the bridge and history of patterned playmanship has been Our emcees for the evening — there this "relaxing and dangerous beast" for brklgekeeper's house hover in overlap with chessboards and double-acrostics, were two, one male and one female, who $3,000. ping lines. It is suggestive of another and Scrabble with Margie — we were alternated calling every three or four time, something distant and vague like an both struck by the plethora, nay, the games — were articulate, though their J. Karl Bogartte showed two 1991 xero image from a dream whose meaning is veritable inundation of gaming possibili voiceswere slightly distortedbythe public graphic collages. Up close (where one elusive. ties. Indeed, the possibilities were so address system. The clearest sound came could study their intricacies) and from a overwhelming—Quick Pick, Warm-Ups, from the speakers in the bathrooms, as if distance, his manipulated images (clipped John the Baptist himself, that greatest of 411 is an exciting view of the Reuss Mystery Money Games, MegaBingo, from magazines, books, and other printed emcees, were addressing you from the Federal Building with its mirrored walls Treasure Hunt, Hot Ball, G Ball, Pick 8, matter), rivet the eye. Bogartte spends adjacent stall. The crowd was generally reflecting, piecemeal, surrounding build Bonanza — not to mention the video months on each piece, and the results subdued, by necessity, I suppose, and I ings. The pinhole camera further distorts poker game rooms and pull-tab tickets— flow like liquid silver across their dark don't think I've experienced that level of shapes and surfaces lending a dream-like that we had trouble discerning exactly ground. quietude during any mass cultural event. quality to this work as well. Of all the what constituted the "regular session." photographs I have seen of this building Sharing a room with Campagna and The regular session itself was marked by none has so transformed and energized But figure it out we did, over the course of Bogartte, Tyler Bergstrom's small and considerable variety, with each bingo it, conveying the experience of walking the evening, often calling upon the assis highly theatrical "set," was a weird amal game requiring a different pattern to win: past it. tance of the Potawatomi staff: security gam of historical references. Is this a guards, waiters, runners, and pull-tab any outside line, the "hardway" (the free Victorian living room, a parlor in pre-war space does not count), any block of nine, Germany, or a scientific laboratory re Many of Averkamp's photos are of other vendors. The staff was always consider the crazy kite, et alia. And during the cently evacuated? The furnishings pul high-rise, concrete and steel buildings. ate and attentive, if not exactly direct in session, vendors would try to interest any sated with images of death, torture, These are the least compatible with the the answers provided. I think it was a and all in partaking of additional forms of genetic tampering, machines that both soft focus of the pinhole camera. They simple case of being unable to distin odds playing, at additional costs: Night Caligula and Dante would have adored, come off like student exercises with their guish the general from the specific, a Owl bingo, MegaBingo (nationally tele surreal infernos and pseudo body parts dependence upon strict geometry. To problem I find with software engineers,
8 Art Muscle '••*. i r*> **
dissected by the raw knives and rusty any kind (and for any arts group) raises the family to the Swiss Alps, near where saws of the underworld. Some of these AMERICAN more than money; it raises questions. Are Ernst Ludwig Kirchner lived in a farm macabre gleanings rested in various sized benefits necessary and are the respective house at the edge of the timberline. Klein, boxes, similar to icons, but the homage INSIDE THEATRE organizations deserving? the budding artist, visited Kirchner for was directed to hell, not heaven. Well Benefit, Ten Chimneys informal lessons on a weekly basis for crafted, without a trace of the precious, it Sunday, August 18 Any modern theatrical benefit is purport three years. After WWII, Klein taught at was chilling. edly public, yet more appropriately pri the Berlin Academy of Art until emigrat vate, for American society repeatedly ing to Milwaukee in thel950s where he Metal wall pieces, resembling jewelry as demonstrates that it does not support taught art at the YWCA, Marquette Uni much as sculpture, were artist Evan theatre. Lack of belief in theatre as a versity and Alverno College. The 11 Larson's quiet contribution to the show's necessary cultural staple, is evidenced woodblock prints he has selected for this preponderance of explosive anguish. through declining attendance figures, mini-retrospective include scenes of his Geometric, bimorphic, and pared to the shrinking financial support from the toric Milwaukee along with several na marrow, the small and beautifully fabri government, and a pervasively restrictive ture studies. cated metals were accented with delicate moral climate that directly results in an cast silver details, and unraveled chaos artificially controlled artistry. By hosting Klein's woodcuts are most powerful when through simple lines, taken just to the and attending benefit performances, the his subject matter juxtaposes nature with point of "nothingness." theatre and its respective patrons have the works of man. In his black and white historically managed to make ends meet, cityscapes, Klein employs short strokes Although Mark Fetherston's altered pho yet the appreciative few now find them of positive/negative space in a manner tographs have recently been criticized as selves being asked for more money, more similar to the Impressionists' use of color. derivative of The Starn Twin's work, they often. The threat of depleting the pool of Tiny, organiclines which describe asingle were powerful from all angles. He em support by going back to the sponsors tree, the sky or a river in proximity to ploys uncontrived, scratchy markings over too frequently, or for too much, is very angular lines used for architectural ele figurative photo collages which are real. This can paradoxically result in ex ments create resonance within the com washed with light. Fetherston's content hausting the supportive patrons and pric positions that borders on synesthesia. alluded to suffering, but rode above the ing (by intimidation) the local bread and Observing these works, one can almost apocalypse (specifically three works: butter audiences out of the support sys hear sound via the sense of sight. The Angel Arc, and Dear God). The calm and John Randolph. Photo by Jim Brozek tem. Milwaukee has, in the past year, effect is consistent throughout Klein's passive central figures seemed curiously seen benefits for all branches of the arts stylistic experiments, whether in the resigned to the forces shaping their des On a balmy, bee-buzzing Sunday, Ameri with donation requests ranging from the expressionist Milwaukee Phantasy and tiny. can Inside Theatre set the stage by casting modest to sums equivalent to bail money Old Milwaukee - New Journal, 1965 or a worthy net for financial net-worth at an for a celebrated felon. Ironically, many the more abstract Downtown Milwaukee Gary Hodel, a 1989 UWM graduate who open house at Ten Chimneys, the Alfred loyal Milwaukee patrons are excluded 1965. Looking Down the Avenue, 1965 works in a factory, showed three copper Lunt and Lynn Fontanne estate in Genesee from fully demonstrating their belief in has the softness and fine detail usually wire sculptures. Mother and Child, won Depot. The former estate of America's these arts due to these high donation found in etchings or lithographs. an award, but other than the laborious premiere acting duo was dressed with the levels. As it is important to nurture future hours spent sculpting copper wires into fashionably well-heeled and the finan audiences, it is equally important to allow In contrast to the cityscapes, the nature incorrectly scaled (from the waist down) cially well-suited (or possibly reversed); future sponsors the opportunity to par prints (some in color) seem flat and lack human figures, it was just a wire sculpture with the entire scenario designed to ticipate in supporting the arts, and not by dynamic tension. Nevertheless, the na afterall. The materials overtook the con benefit Inside's upcoming season and mere attendance. Otherwise, the less ture studies add dimension to an exhibit tent. solidify its long-range goal of transform affluent audience members become more which through a few, carefully selected ing Ten Chimneys into a museum and a and more distanced from what was and images, eloquently demonstrates the Kaveh S. Soofi filled one wall of the back 300-seat theatre and adjoining cafe. is, after all, theirs to begin with. range and versatility of an accomplished gallery with works painted in a muddy artist and master craftsman. palette, and the usual bad art tears, rips, Sunday proved not to be a fete' worse Ideally, benefits should be priced to in Therese Gantz skeletal grins, and dripping blood. Op than death, as actors John Randolph (Jack clude the majority, middle class. The lavish posite Soofi was Michael Hoffman's Nicholson's father in Prizzi'sHonor) and displays of food and entertainment could hodge-podge of stylistic variations. Un Dick Van Patten (television's Eight Is be scaled down — a box lunch picnic, a decided about which way to leap, he did, Enough) flew in to regale the crowd with hike through the woods or urban land however, show a few pieces that indicate recollections of acting with the Lunts. scape, a croquet tournament, etc. That an understanding of how to handle paint. Served alongside Randolph's sweet and way, the "benefits" of benefits are ex Eric Larson's small paintings and photo entertaining memories, the many luscious tended to everyone. graphs were uneven, but their mysteri pastries paled in comparison to Mark Bucher ous qualities were intriguing. What are Randolph's rich soliloquies, well worth we looking at in the Polaroids? Are those the price of admission ($50 for season WOLFGANG KLEIN body parts in a war zone, or chicken parts subscribers and $100 which included a in a pile of rubble? Giles Larock's bright, season subscription). In addition to live Boerner Botanical Gardens cartoony paintings are populated with music and tours of the main house (a August 20-September 22 flying cats, mice in traps, ships in space, sojourn of style and substance for any DNR chains, and the loony world of student of theatre, architecture or an The small library in the Garden House at commerical chaos. His big color field tiques), the entertainment included a Boerner Botanical Gardens is the site of a paintings are fun, but his painting quality meandering magician and a sampling of sampling of works by Wolfgang Klein, an is flat and lifeless. Inside's season opener, Tennessee artist and educator who has lived in Mil Williams' The Glass Menagerie. waukee for the past 35 years. Born in Holland spent opening night doodling in Berlin, Klein spent his early years in Paris, where in 1914 (he was eight) he and his a cage which he built out of wood and The afternoon benefited everyone, as family became prisoners of the WWI wire. It was a safe place to be, consider Inside raised funds for its season, and French government. In 1919, seeking ing the chaos. successfully brought the Ten Chimneys' relief after the war, Klein's father moved Judith Ann Moriarty project into the limlight. But a benefit of Wolfgang Klein, Roses, woodcut.
WISCON N PAINTERS & SCULPTORS John L. Doyle JURIED MEMBERSHIP SHOWS Lithographs • Paintings • Drawings Campus Center Gallery Carroll College-Waukesha Exhibition 11 October • 17 November October 26 - November 9 Dennis Uhlig Fine Art Opening Reception, 11 October 7-9 p.m. 1932 East Capitol Drive - Shorewood (Monday - Saturday 10 to 5 p.m.) Memorial Union Gallery The University of Wisconsin-Madison 20 December-24 January ASTERISK FINE ART Opening Reception, 20 December 7-9 p.m. Sponsored by Wisconsin Painters & Sculptors, Wisconsin Artists in All Media P.O. Box 11756 / Shorewood, Wl 53211 Funded in part by a grant from the Wisconsin Arts Board and tiie National Endowment for the Arts. (414) 964-5558 v^/\•^•v^/'^/^/v^•^/^^^
Modern Age
furnishinqs Streamliner qnd accessories >>i A A J DECO-RATION and Modeme furniture Quality '40s and 50s Just furniture and accessories three of Italian art glass more than Mission art pottery 60 quality Bakelite and silver jewelry dealers. Period art and prints M&l Banks Water Street: antiques 318 N. Water Street 278-7C » Open seven days StnSSSSfafi i 4/> • Hi •• - * •! w Bk jH ^W /~\ _ ,J|- WM \27A-A000 1 s3 AOMISSIO * *\ Art Fairs invi Ait U-— ^ JJ 10 Art Muscle [f Y>u Don t Rfc* hV>odoo, lust ^tch HowTJiese^frican Masks BringYwW^sTp life. In fact, all of ourz ethnic furnishings, textiles, and sculptures haue thepovoerz to coake up any noom. 2.9.01 N. FaRcoell Aoe. 224-0506 Milwaukee Dance Theatre presents the world premiere of "Yerma" choreography by Susana Di Palma. Also featured - "Read Matheiu 11:28", and guest artists from the Flamenco company ZARONGO. Call 785-1270 for more information. Here's your chance to try a lot of our papers for a little money... Collage Bags $2.50 Vicki r^ Schober Zed Company, Inc Specialty papers and boards to serve the fine arts, graphic arts, and picture frame industries. 2363 North Mayfair Road 414-476-8000 • 800-541 -7699 (Across the street from Mayfair Shopping Center behind the Billings Piano Store) #805 RETAIL PAPER STORE OPEN MON.-FRI. 8:30 a.m.- 5p.m. • SAT. 9a.m.-lp.m. 11 t Symphony funding criticized clout to lobby for special funding. As He previously served as the board's is the focus of a new gallery at 928 E. by state arts managers Nancy Stevens, director of Continuing Deputy Director. Amhaus replaces Ar- Center Street, Milwaukee. Crazy Horse On August 8, Governor Tommy Th Education at Milwaukee Institute of Art ley Curtz. The Milwaukee Ballet has Gallery owner, Neil Starr, wants to let ompson signed into lawthe state's 1991 - and Design said, "Politicians don't really named Gary Keller as President/CEO people know 'that Indian art is here, not 93 budget package. Ignoring the advice understand the arts community and the for the Milwaukee Ballet Company. He only in the Southwest." Starr is an Ojibwa of the Wisconsin Arts Board and many arts community hasn't been good replaces Michael Stirdivant, who left the artist from Milwaukee. state leaders, Gov. Thompson approved enough at defining what they need. The post to become Managing Director at some controversial arts funding that symphony worked very hard on this. But the Performing Arts Center. Forthe past Studio 13, a new theatre company singles out three groups for aid over the it is inapproriate to work outside of that five years, Keller has held positions at comprised of Marquette University next two years: The Milwaukee Sym (the arts board) mechanism." the University of Wisconsin-Stevens alumni, students and faculty, has been phony will receive $900,000, and Point as Executive Director fo the UW- formed under the leadership of Thorn Milwaukee's Florentine Opera and As quoted in Isthmus, Joel Gersmann, SP Foundation and Executive Director Hofrichter. The company's first produc Madison's Wisconsin Chamber Orches artistic director of Broom Street Theater for University Advancement. Sue Tay tion, Jean-Paul Sartre's No Exit, is run tra will each receive $100,000. in Madison said, "What the Milwaukee lor, a Chicago curator, editor and art ning through Sept. 29 at Marquette's Symphony did is totally corrupt behav critic, has been named association Hetfaer Theatre. Although tied to the Public funding for the arts is normally ior. It's dishonest. It gives a signal that curator of prints and drawings at the university, Studio 13 is not a resident allocated by the Wisconsin Arts Board there are no standards anymore..." Milwaukee Art Museum. She previ company on the campus and hopes to after extensive panel review. This time, Stephen Fleischman, director of the ously had served as associate curator eventually find its own permanent space. however, line items were added to the Madison Art Center, also commented, at the David and Alfred Smart Museum budget, earmarking special funds for "You're going to be setting up a system of Art at the University of Chicago since Centre City Espresso, a non-alcoholic the three groups. At the same time, where decisions come out on the floor of 1986. coffeehouse and art gallery, recently Thompson vetoed a $750,000 increase the legislature." opened at 418 6th St., Racine. The for the Wisconsin Arts Board, saying Art Education conference gallery will feature a new exhibition every "Arts organizations should not become The $900,000 was given to the sym The Wisconsin Art Education Associa five weeks. Call 635-0732 for more in dependenton state funding forsurvival." phony for its state touring program. tion will hold a two-day conference formation. "Resources: Creative, Community, Cul These funding moves have received Arts conference in Milwaukee tural" at Mount Mary Collegte Oct. 24 Where The Waters Meetis a new weekly widespread criticism in the art commu The Wisconsin Arts Board will hold its and 25. Keynote speakers will be Fritz culture and politics program airing at 7 nity. "Many people are extremely upset 1991 Statewide Arts Conference in Scholder, well known artist from p.m. Fridays on Warner Cable Channel about the cavalier attitude of Gary Good Milwaukee Sept. 26-28. This year's Scottsdale, AZ; Ellen Dissanayake, au 14. Upcoming profiles will include pho and the Milwaukee Symphony. They theme is the implementation of multi thor of What Is Art For?; Professor tographer Steven Foster and artists didn't care what happened to anyone cultural programming and the arts as a Geraldine Dimondstein of California Craig Kowalkowski, Debbie Davis and else, as long as they got their slice," said cultural bridge and source of commu State University; and Frank Voci, Mul Jill Sebastian. The program is a collabo Bruce Marquis, Director of UWM's Fine nity healing. The public is invited. For an ticultural Specialist for the Madison ration between Christina Zawadiwsky, Arts Programming. Other arts manag agenda or further information call the Metropolitan School District. Contact a writer, and Mark Mars, an independ ers agreed that the process used by the Arts Board at (608) 266-0190. Rochelle Robkin at (608) 356-3539 for ent videographer. symphony to gain this line-item funding more information. subverts the established process for Personnel news arts grants and allows the big arts or Dean Amhaus has been named Execu New spaces/places ganizations with the greastest political tive Director of the Wisconsin Arts Board. Fine art of the Great Lakes Indian tribes g r d N t/ Art Museum receives Midwest. They are: Jan Buckman, Hager to hire a minority arts administration Foundation for its new special exhibits its largest grant City, crafts; Richard Judd, Paoli, crafts; Fellow; Present Music, $10,000 for free gallery. The Milwaukee Art Museum received a Brenda Leigh Baker, Madison, sculp concerts; Woodland Pattern, $10,000 $175,000 grant from the Lila Wallace- ture; and John Ford, Lomira, sculpture. for an exhibition by women of color; Af Milwaukee Foundation grants Reader's Digest Fund, for its exhibition rican-American Children's Theater, The Milwaukee Foundation recently Painters of a New Century: The Eight. It String Academy grant $3,500; CAPUTA, $5,000; Career Youth approved $850,000 in grants. The larg is the largest grant in the museum's The Milwaukee Foundation and the Development, $5,000; Children's Out est single award of $100,000 went to history. Milwaukee Arts Board have awarded ing Association, $3,949; Fifty-fifth Street Ko-Thi Dance Company. Other grants $22,000 to the String Academy of School PTO, $1,750; Harambee Om included: $15,000 to the Milwaukee- Interdisciplinary fellowships Wisconsin's "Inner City" project. budsman Project, $5,000; Riverwest Omsk Theatre Exchange; $7,500 to Deadline is Oct. 25 for six to nine fellow Artists Association, $4,500; Silver Spring American Inside Theatre to produce a ship awards of $8,000 to $12,000 to Milwaukee Arts Board grants Neighborhood Center, $5,000; Wood new script; $15,000 to Milwaukee Art Midwest artists producing interdiscipli The Milwaukee Arts Board recently land Pattern, $4,500 for workshops; ists Foundation; $10,000 to Milwaukee nary work. To qualify, art must deal with awarded 20 grants to arts and neighbor YMCA of Greater Milwaukee, $5,000. Chamber Theatre; $10,000 to Milwau the changing relationships between hood organizations. Grant recipients in kee Dance Theatre; $10,000 to Milwau artistic disciplines, diverse cultures and clude: Artreach, $6,000 to purchase kee Institute of Art and Design; and traditional expressions. Interdisciplinary audio description equipment; Colorlines Ripon College buiding fine art wing $15,000 to the Pabst Theatre for the work fuses, integrates or explores the Foundation, $3,000 to diversify Color- Ripon College received a $1 million Milwaukee-Omsk project. boundaries between at least two dis lines Magazine's readership; Friends of grant from Thomas E. Caestecker of tinct disciplines. Write to: Intermedia Hispanic Culture, $5,000 to establish a Kenilworth, IL for a new fine art facility Theatre Festival grants Arts/McKnight Fellowships, 425 Ontario Hispanic visual and performing arts and outdoor sculpture garden. The Milwaukee Theatre Festival has Street SE, Minneapolis, MN 55414. series; Great Lakes Opera, $3,000 for received a grant of $4,000 from the free performances; Milwaukee Institute Public Museum grants Marie and Erwin Uihlein Foundation for Fellowship recipients of Art and Design, $3,500 for an exhibi The Milwaukee Public Museum received its 1992 festival. Additional funding was Four Wisconsin artists were awarded tion; Milwaukee Public Theatre, $15,000; $25,000 from the Milwaukee Founda received from Marquette Electronics fellowships of $5,000 recently from Arts Milwaukee Repertory Theatre, $15,000 tion and $7,500 from the Arthur Laskin ($15,000) and Wisconsin Bell ($15,000). 12 Art Muscle opportuNitie/ Opera auditions SASE for prospectus to: ARC Gallery, 1040 works. $10 entry fee. Deadline is Oct. 4. ment and responsible for overseeing the The 13th Annual District Auditions for the W. Huron, Chicago, IL 60622. Contact the Cudahy Gallery at 271-9508, administrative arm of the theatre company. Metropolitan Opera will be Saturday, Oct. 19 ext. 255 for information. Send resumes to: Leonard Sobczek, at 10 a.m. at Alexander Hamilton High Riverwest Artists Association Eastmore Reality, 3287 N. Oakland Ave., School, 6215 W. Warnimont, Milwaukee. Artists in all media, inside and outside the Art Festival Milwaukee, Wl 53211. Singers aged 19 to 33 can compete for Riverwest area, are invited to join this arts The 32nd Annual Festival of the Arts by $6,000 in awards. The event is free to audi organization. Annual projects include the North Suburban Beth El Sisterhood will be Artreach volunteers ence members. Contact Helen Ceci at 962- Artwalk, Locust Street Art and Music Festi March 7 and 8. Deadline for slides is Nov. 1. Artreach Milwaukee seeks volunteers to 4013 for more information. val and an annual membership show. RAA For prospectus: 1175 Sheridan Road, High assist with its Exhibit Program in transport also has an affordable health insurance plan. land Park, IL 60035, or call (708) 432-2879. ing and hanging traveling exhibitions. Call Walker's Point Center Call 374-4RAA for information. 271-4704. looking for teachers Hispanic Arts Council formed Walker's Point Center for the Arts is review Gallery Ten A newly formed Hispanic Arts Council is Poetry award ing proposals for teachers for its Hands On Gallery Ten will hold its 6th Regional Exhibi dedicated to preserving and promoting His The Randall Jarell Poetry Prize invites writ after school art program. Send resume and tion Feb. 28 to April 3. It is open to artists panic Cultural Heritage and folklore. For ers to send two copies of one to three unpub ideas for projects to the Educational Coordi residing within 150 miles of Rockford, IL. information about joining, contact Yolanda lished poems and a cover sheet for a com nator, Susan M. DeSalvo, WOCA 911 W. Entry fee is $15 for three slides. Send SASE Martinez, United Community Center, 1028 petition. Deadline is Nov. 1. Entry fee is $5. National Ave., Milwaukee, 53204. Positions for prospectus: Gallery Ten, 514 E. State S. 9th St., Milwaukee, 53204, 384-3100. Award is $500 and publication in a national will range from a semester to bi-monthly or St., Rockford, IL61104, (815) 964-1743. magazine. Send to: The North Carolina bi-weekly. Rainforest art Writers' Network, Randall Jarrell Poetry Lakefront Festival The Painted Lady Restaurant seeks two- Prize, 106 Meadowglades Lane, Cary, NC The FORUM Gallery January 24 is the entry deadline for the 1992 dimensional art that relates to the rainforest. 27511. The FORUM Gallery in Jamestown, NY, is Lakefront Festival of Arts on the grounds of Send slides and SASE to Mary Ulm at 6871 seeking overtly humorous art work for an the Milwaukee Art Museum in June. Entry Hickory Road, West Bend, Wl 53095. (414) Watercolor exhibition exhibition in the spring of 1992. The show, fee is $18. Booth fee is $225. Contact: 675-2415. Deadline is Oct. 8. The work will The 11th Annual Juried Watercolor Exhibi curated by Dan Talley, will include work in all Lakefront Festival of Arts, Milwaukee Art be displayed Oct. 15-Nov. 24 in conjunction tion in Arlington, TX will be in February. Send media that features elements of satire, par Museum, 750 N. Lincoln Memorial Drive, with a slide presentation of the Costa Rican SASE for prospectus: Society of Watercolor ody, irony, etc. It will coincide with the Sec Milwaukee, 53202, (414) 271-9508 ext. 255. rainforest and a special dinner. Artists, 34 Caddo Peak, Joshua, TX 76058. ond Lucille Ball Festival of New Comedy. A catalog will be published. Send no more Scripts wanted Outdoor sculpture show Minority writers than ten 35 mm slides, a resume and sup Playwrights Studio Theater is seeking fin The West Bend Gallery of Fine Arts and Nov. 30 is the deadline for the Charles H. port materials with SASE to: Wit and Wis ished scripts of plays, the Milwaukee-based West Bend Friends of Sculpture are review and N. Mildred Nilon Award open to African dom, The FORUM Gallery, 525 Falconer company is committed to producing fresh ing slides for an exhibition of outdoor sculp American, Hispanic, Native American, Alas St., Jamestown, NY 14701. Deadline: Nov. works by new or veteran playwrights. The ture, models and proposals. Send up to 20 kan Native, Asian or Pacific Islands writers. 15. Call Michelle Henry at (716) 665-9107 group seeks one-act or full-length plays for slides to West Bend Gallery of Fine Arts, 300 Book-length fiction (novel, novella or short for information. a series of readings beginning this fall. The South 6th Ave., West Bend, Wl 53095. Jan. story collection) eligible. For information write readings will be every third Monday at vari 15 deadline. to: The Nilon Award, Fiction Collective Two, The FORUM is also organizing PhotoNomi- ous locations. Scripts also are being sought English Dept., Publications Center, U of nai '92, an exhibition including work of any forafestival of 10-minute plays. Send scripts Foothold Dance Company Colorado, Campus Box 494, Boulder, CO photographic process. Juror is Susan Krane, with SASE to: Submissions reader, Play Foothold Dance Performance is looking for 80309. curator of 20th century art, High Museum, wrights Studio Theater, PO Box 11069, new members, guest artists and independ Atlanta. Send no more than ten 35mm slides, Milwaukee, Wl 53211-0069. ent performers to work with in the upcoming New gallery seeks resume and support materials with SASE to year. If interested in collaboration, develop Wisconsin art above address. Deadline is Oct. 1. Crafts Council exhibit ing new material or just dancing with mem The Gallery of Wisconsin Art Limited, sched Mastery of Materials, a juried exhibition co- bers of the organization, call 278-0717. uled to open sometime in October in Milwau ARC Gallery sponsored by the Wisconsin Designers kee, seeks art work from Wisconsin artists. ARC Gallery in Chicago seeks work for an Crafts Council and the Cudahy Gallery of Theatre X seeks Call Natalie Soref at 332-7335 for more exhibition called Inappropriate Men. All Wisconsin Art, seeks entries to an exhibition new managing director information. media. Entry fee is $15 for three slides, $5 running Nov. 16 to Jan. 19. All Wisconsin Theatre X is looking for a managing director for each addition. Deadline is Oct 25. Send artists eligible. Submit up to four slides of two strong in fund raising and board develop go//i p Greetings gentle readers, dan Balistreri-Murphy. Windfalls: photogra bought from the artist Enguerrand Gourque. national front, Wisconsin artist Walter Ha- pher, collage maker, painter turned home (At the time of the painting's disappearance, mady is showing work at Perimeter Gallery Miss Yvonne is back (and it's none of your owner Stanley Ryan Jones received a $500 Gold was going through a divorce, so his be in Chicago through Oct. 12. UW-Madison damn business where I've been) with some grant from the Rauschenberg Foundation. longings were in upheaval). Years later it professor Truman Lowe recently had a tattling tidbits for your ears only. Old Robbie signed the check himself. Instal was traced to the permanent collection of show at TULA Foundation Gallery, Atlanta. In the love category: Artist Ann Mory is lation artist Sandra Greuel is leaving tiny the Milwaukee Art Institute (now Milwaukee The show is reviewed in the September marrying high school sweetheart and archi town for a bigger and better job in the Big Art Museum). When Gold questioned the issue of Atlanta's Artpapers. . .Coming up tect, Bruce Wydeven. Who said old flames Apple. She will be the head slipper designer Milwaukee collector who donated the paint and not to be missed: Romare Bearden can't be rekindled???? for Isotoner. Feets don't fail me now. Ac ing to the museum, the donor kept repeat retrospective at the Museum of Contempo Culture vulture Amalia Schoone is taking tress and Milwaukee native Jane ing, "It's mine, I gave it to the museum, it was rary Art, Chicago, and, in the distant future, the plunge with Plasticland's former John Kaczmarek of LA Law notoriety is making mine. I always had it." If s a small, small a retrospective of Milwaukee painter Fred Frankovic. Howard Zabler the knitter is her Broadway debut this month in Neil world after all isn't it. . .Cathy Cook's new Stonehouse is scheduled at the Madison tying the knot with master masseuse Bev Simon's Pulitzer Prize winning play Lost in film, The Match that Started my Fire, will pre Art Center in 1992. . Tom Petty was seen Solbrig. . .First comes love, then comes Yonkers. On the seedier side: In Herbert miere Sept. 20 in Chicago. The film docu recently savoring a sirloin at the Fourth marriage, then came Milwaukee Magazine's Gold's new book, Best Nightmare on Earth, ments people's first sexual encounters. . Base, 51st and National. Bruce Murphy and Rose Balistreri with a A Life in Haiti, he speaks of the disappear .Milwaukee artist Francisco Mora has baby carnage toting one big baby —Bren ance of a Haitian painting of a zoombie he moved to Santa Fe, New Mexico... On the iniiiiUJ imumimi American Inside Theatre Presents, The Glass Menagerie by tennessee Williams directed by morrigan hurt performed in the Otteson Theatre at Carroll College September 25 — October 13 Wednesday / Thursday at 7:30 pm Friday / Saturday at 8:00 pm Sunday at 2:00 pm Tuesday 11:00 am siudtm/,, For Information and Reservations call the box office at 968-4555 13 • ethnic jewelry • traditional clothing A affordable artefacts A contemporary T-shirts 1800 North Farwell Avenue A Milwaukee, Wl A (414) 272-ANKH NATALIE COLE NATALIE COLE A lot of things can make a place UNFORGETTABLE J\. special Here, its the land and the people. A land rich in Natalie Cole's Number One tribute to resources... a people dedicated her father. to working together. CS: $10.99 INCLUDES CD: $13.99 "UNFORGETTABLE" (A DUET WITH HER FATHER) FOURPLAY Four-man jazz group Wisconsin consisting of: Bob James, Lee Ritenour, We believe in it. We're part of it Harvey Mason and Nathan East. Available October 1 CS: $6.99 CD: $11.99 1669 N. Farwell Ave., Milwaukee III Opening in October 16900 D. W. Bluemound Rd. FIRST WISCONSIN Brookfield, Wl Member FDIC J/W Also stores in: ©1989 FIRST WISCONSIN "SaV It with me" Madison, Appleton, West Bend, ' Green Bay and Oshkosh 14 Art Muscle George Gist Looking Life In The Eye By Judith Ann Moriarty ililllwL. George Gist. Photo by Francis Ford. In his Detroit high school George Gist was the anchor number of crack houses, but the area isn't as danger assignment. The curator didn't like some of my original man on a relay team where his best friend, a white ous as the local news media would have you believe. sketches, as he felt they depicted our ancestors as "too athlete, passed him the baton. They still keep in touch, I'm out on the streets daily, and I think the neighbors primitive." I drew them crouched and poised with hunt though his friend works as a minister at a home for know I'm a social activist. Word gets around fast in ing spears. I find that amusing, as all races were delinquent kids in Arizona. During the Viet Nam con these neighborhoods. So far I am very happy in Mil hunters at sometime in history; however, I reworked a flict, Gist, a conscientious objector, served in a hospital waukee. few of the original sketches, and it turned out well. for the criminally insane. He attended, but did not Black people tend to over-react at times. They don't graduate from The University of Michigan. After gradu Are you represented by any local galleries? want to be portrayed, (historically or otherwise) as ating from The Police Academy in Detroit, he worked No, I sell myself by word of mouth and what I do within primitives. It's a sensitive area, coming I think, from the as a cop on the city streets. He was rejected for an art my community. bad jokes about blacks, 'spear chucker'jokes, racial scholarship because he painted an image of "a big You are active in doing mural projects with kids. slurs, things like that. I also don't understand why black woman with a rat in her hand, coming out of the Tell me about those. people with little or no art background are put in charge ghetto and looking Uncle Sam directly in the eye." He One project, Rhythms Unite People was done with of museums. The museums should reflect the culture studied for his Master's of Fine Arts in Paris and partici kids from the Hillside Boys & Girls Club Step Up Job of the community, not change it to make it more accept pated in artfairs all overthe United States. While living Program. It depicts African-American musicians of the able to visitors. There are blacks who take pride in their in Pittsburgh, Gist was hired by the Hearst Corporation past, as music is an old love of mine. The kids earned African roots and view the hunt as exciting. The panels as a courtroom artist, and was invited to exhibit in $4.25 per hour for six weeks, and generally, it was a include a Wisconsin lynching (one took place at the Pennsylvania's Governor's Art Show for three con positive experience, but not entirely. Just before we corner of Buffalo & Water). Father James Groppi, a secutive years. While living and working on the east finished, the kids and I were approached by a gang priest who worked with black activists is also honored, coast he won a trip to Africa, but took the money which eventually grew to a mob. The kids and I ran along with the black farmers and various others who instead. This past summer, young artists, age 13 to 15, inside the building, the police were called, but things had a significant role in shaping Wisconsin's history. worked under his tutelage on a mural project at 6th and are cool now. They didn't wreck the mural, as a matter The blacks in this stateearnec/their forty acres and a Walnut. of fact, it seems that murals are rarely the target of mule! Did you know that Wisconsin was one of the few vandals. It's interesting that punks stay away from states that actually kept their emancipation promise of works that are directly related to their neighborhoods. forty acres and a mule? Many states never came What brought you to Milwaukee? through. A happy accident. I was working the Illinois art fair Other muralists have observed the same thing. It could circuit, and during a fair with 400 exhibitors, I met be a taboo. Actually, the mural was designed to cover (silversmith) Henry Colby, the only other black artist in graffiti on the building's west side. After this unhappy Does painting portraits pay the bills? the show. Despite the crowd, we managed to find each incident, parents were (understandably) reluctant to let After 18,000 portraits in pastels and oils, you'd think I'd other. He invited me to Milwaukee's Summerfest to their kids finish the piece, so I did it myself. Now I'm be burnt out, but yes, I still do them. I also have a paint portraits, which I did for a few years, and eventu working on a mural at a car wash on 25th and Capitol. ceramics business, which I developed for the black ally I moved here (in 1985) to help him run his shops. consumer who wants something other than plaster- I also have a background in metal smithing. I'm settling What other mural projects have you completed? craft items with "white" themes. I make large, rugged- in to a studio/apartment uptown on North 1st, in a I have a 13-panel work indoors at The Wisconsin Black looking pots with African motifs, ceramic animals neighborhood with big trees, little kids, and the usual Historical Society headquarters. That was a difficult (animals which are typical of the veldt), and figures of 15 African people. The black consumer purchases and In retrospect, you could never pay me enough to stay the tubes because of poor management. The black paints them as they wish. Occasionally I see one of my on such a dangerous job. Also, in the 70s there were artists weren't organized, and just allowed the place to ceramics that has been painted a ghastly color. It a lot of dress code hassles with the police department fold. It could have been a big success and a fine place makes me wince. bureaucracy. Black male cops were required to cut for exhibiting if only they had taken a firmer role in man their afros and mustaches, which I felt was a direct agement. I'm not sure if this is a problem of apathy Do you think most artists are respected for the rejection of my African heritage, so I got out of the busi within the black arts community; afterall, galleries fold profession they have chosen? ness. My daughter is a cop. She earns much more frequently for a variety of reasons. No. It isn't unusual for me to be invited to someone's than I did when I started police work, but it is more home for dinner, and next to my plate find a pencil dangerous out there these days. I will say that my Most of your works portray the African-American waiting for me to sketch (if you don't mind, George) the training at The Police Academy strengthened my dis experience. How do you identify with that experi host's favorite visiting neice or nephew! Don't they cipline, and provided valuable experience in working ence? What makes your work "authentic?" understand that making art is a profession? But I guess with many kinds of people. I live the African-American experience. Having simple many artists get those kinds of requests. A player for needs means I'm not tempted with selling out in order The Milwaukee Bucks probably gets more than occa Do you think The Black Historical Museum serves to "move-up." The history of my people interests me. I sional requests for a slam-dunk (just one) before din the community in which it is located? The Milwau listen for it. I don't live in the suburbs and take black art ner. Also, many blacks see only white-oriented images kee Art Museum is often criticized for serving history classes, or study about it from pretty books on in the marketplace. I'm doing something to change that, suburban interests more than the urban popula the cocktail table. I live it on the streets. Great jazz is a but people with big social problems are not going to tion which surrounds it. fondness of mine; the music of my people. I study think about what to hang on their walls. They need the I feel strongly about this issue. I don't think either mu Islam, and take pride in who I am. I don't straighten my walls first. seum really serves the high-risk population of Milwau hair, don't drive a Cadillac, and prefer clothing that Did your parents approve of your profession? kee, though their public relations departments point to reflects at least a portion of my blackness. Painting a I'm sure my dad died thinking I was af ailure. Black folks the "great numberof black kids attending these events." mural in a dashiki would be silly, so I'm not a black see art as a waste of time. It isn't tied to their concept Theirf igures no doubt are impressive, but the children groupie in that sense. I'm involved in the "experience" of real work. But I clearly remember drawing pictures that have little or nothing, the ones who populate the while retaining my independence. Focusing comes with my mom at age four or five. A big group of portrait toughest inner-city neighborhoods, are often over with age, emotional maturity and from living life. painters wowed me at a state fair. Seeing so much art looked. Many of these children have missing parents, (with the artists next to it) was important! I thought, "if so whether they even get to school for field trips is a they can do it, so can I." So I did it. I started young, and problem! Milwaukee needs more funding for kids' art George Gist was educated at the Gallery 7 Art School practiced daily. I will do almost anything clean and projects, and it should be targeted to the inner-city art in Detroit, The Washtenaw CC in Ann Arbor, Michigan, honest in order to continue living the life of the artist. experiences that relate directly to high-risk kids. Art and received his Masters of Fine Arts in 1980 through Now I have a grown son who is an artist in Detroit. projects that take place on site in their neighborhoods; Sarkiesian in Paris, France. He studied privately with art projects that they see every day in their blocks. Ph.D recipients Jon Onye Lockard, Charles McGee, Do you feel successful? Doesn't it make more sense to fund things in the neigh and LeRoy Foster, and received a scholarship through If being happy is 'success' then I guess I am. I sell my borhoods than to spend big money on transporting the Afro American Cultual Development Foundation. work, have interesting projects throughout the city and people around? I think the failure of busing has taught His work is included in the collections of musicians work in a variety of community activist projects. My us that. Stanley Turentine, Al Green, and Bo Didley, athlete success comes from being well organized. When I Dwight White of the Pittsburg Steelers, and a member have an appointment, I show up on time. This may or Does the black arts community fight over who gets of the US Consulate to Liberia. He has received a best may not lead to a commission, but whether it does or funding? of show award from the Inner City Arts Council in not, I always arrive well prepared. I keep my promises Sure, in that respect, they don't differ much from the Milwaukee, and his future plans include developing an and work hard when I do get a job making art. I pursue white arts community. People of all colors look over Afrocentric painting course which ties in African sym interesting possibilities and circulate in the Milwaukee their shoulders to see who is getting what. It's pretty bolism with current art modes. community, but not at cocktail parties and splashy art self-defeating though. They would do much better if openings. I'm pretty much out of the gallery scene. they got organized and spoke out as a group. Why didn't you stay on the streets as a cop? That's Did you ever show at The Peoples' Gallery that was a lot of training to go through for just six months on funded by Wisconsin Bell? the job. Yes, that gallery had great potential, but it went down FOUR GREAT PLAYS THIS SEASON 1.THE BOYS NEXT DOOR a poignant comedy by Tom Griffin September 13 - September 29 2.AND A NIGHTINGALE SANG A dramatic comedy by C.P. Taylor November 1 - November 17 3. COBB an intriguing new drama by Lee Blessing February 14 - March 1 4. ITALIAN AMERICAN RECONCILIATION A fanciful romance by John Patrick Shanley April 10-April 25 Call 278-7780 for ticket information Performances at Centennial Hall - Milwaukee Public Library 16 Art Muscle Patrick Turner Urban Contemporary Renaissance Art IIS li World Premiere Performance Felc s/NY Septi ' - - - •'- • danle in sin ,-: Fell e the c & ha|l ...from brazil Adult puppet theatre^ ^lATURAN Crupo Contadores The Sun Pad Home, mixed media, 1991 de Est Even though Milwaukee artist Patrick Turner has recently been working on a -19 Turner is employed full time for Wiscon new series called The Infinite I— small 8 pm* I sin Gas Co., he still manages to produce pen and ink works on paper with some an amazing amount of work in his small delicate collage elements added. Lifting is detailed apartment/studio in the Sherman Park lyrics from his songs or merely pulling that area. But local audiences have probably phrases from his mood at the time, the lhat never seen his output. Turner has found series combines words, African faces and a way to generate a growing income from abstracted urban scapes. More taut and rubber pulse like a human his art outside the traditional realm of controlled than his shadow box assem gallery representation by spending his blages, the works are skillfully rendered foody gasping wttfedesire* four weeks of vacation each year travel with the frenetic energy that seems to be • . £31 r ilitrE Mi Si ing around the country to art festivals. Turner's trademark. "These deal with my This year he won a "best of show" award thoughts and ideas, there's a continuous at Madison's Art Fair on the Square. He'll flow of energy. Black, cultural history is soon be packing up for a four-day event always in my work, but it's more on a in Atlanta. He also recently won a first spiritual level." The viewer has to seek place award at a California art festival. out the messages in the squirrelly render ings, but always somewhere within A 1975 graduate of the UWM art depart Turner's urban schemata lies a primal ment, Turner works primarily in collage, beat. Titles like "Voo Doo Child," "Ain't an art process that seems to suit his di No Mercy in a Dream," and "A Future verse interests. He builds three-dimen from the Sky" are good indicators of the sional shadow boxes that house as blues riffs running through Turner's mind sembled objects against painted back as he works. Citing Romare Bearden and grounds. Lately, he's been creating a se Max Ernest as well as Hendrix, Muddy ries of "Seven Sons" loosely based on his Waters and John Lee Hooker as influ toric blues figures. (Turner plays guitar ences, Turner has managed to combine and writes blues songs). Painted, plaster the visual and the aural in an impressive cast masks dominate these energetic body of work. pieces. He's dubbed his work UCRA or • •--.-.• v •••'••'.''.'.:-.' .•-•; ... ; Urban, Contemporary Renaissance Art. Debra Brehmer New music We/theatre Tuyo THE DORMITORY October 26 - 8 p.m. IpORTOIR) October 27 - 2 p.m. Carbone 14 ''...turning the dis lilvember 1 -2 cards of modern ffjp.m. society - plastic "a memoir with extraor piping, metal tubes, dinary depth/' hoses.Jnto instru The Boston Globe ments that seem every bit as emotive ; Featured at tr it as a violin, piano, or - • electric guitar." Wi ree Press 414/382-6044 Alverno College 3401 South 39th Street • Milwaukee Patrick Turner. Photo by Dave Schlabowske. 17 Loretta Jordan Finding Her Place By Debra Brehmer Loretta Jordan considers herself a loner in the art world. Although she is a black, female artist, her work does not overtly address issues of gender or race. She said she sometimes finds herself ex cluded from exhibition opportunities because she is not working in an "ethnic" mode. Her work, influenced by Surrealism, has an eerie, dreamy quality. A recent series of black and white oil paintings contains a strong storytelling, narrative quality, yet there is no "correct" reading of the imagery. She says: "I just sit down and start painting or drawing. I don't plan things. I just do it. I like people to find their own interpretations of my work." One of the stronger pieces in the new series, Hoods, features a house shape shrouded in a black cloth. Stark winter trees line one side of the canvas and a distant highway winds up the other side. Two Loretta Jordan. Photo by Francis Ford. obscured figures are digging a hole in the highway as a truck approaches from a clouded foreground. A white flower glows from the base of the house. In the background, faint claw marks and lightning scapes or cityscapes. The obvious interpretation she doesn't deal directly with these issues, notions complete the aura of malice. "This is a destructive would be that Jordan is commenting on the ideal of race and feminity seem to dominate the canvases painting," Jordan admits, "but I'm not entirely sure ization of white facial characteristics and how a with the same subconsious free association of what it's really about I think I was angry when I dominating culture has imposed its formulas of dreams. "Sometimes these paintings are about painted it I want to show people what I feel. I'm not "beauty" on all cultures. But Jordan denies such loneliness — a man loves a woman but they can't always able to express things well verbally." political overtones. She simply says she thinks the be together, they are so different. But I really don't faces are pretty. The work is more about universal think in racial terms. People ask me why I paint Jordan often deals with organic and figurative ele issues between men and women — the human white girls. I don't know. I don't think about that at ments. A seated figure evolves into a tree form. condition. Jordan's own light skin, she feels, is re all. I'm trying to find out where I want to be in the Musculature often resembles roots, becoming a sponsible for some of her "loner" status. She en art world. I'm still trying to find my place." botanic weave. In several of her paintings, fashion counters mistrust from darker skinned women, yet magazine faces of white women loom above land doesn'tidentify with white women either. Although Jordan has done art work since she was 12 years old. She attended the Milwaukee Institute of Art and Design for one year in 1988, until funding ran out. A former makeup consultant for Estee Launder and the mother of two (her oldest daughter is studying art at Drake Univeristy this fall), Jordan says she has been "producing like crazy" for the past few years, partially due to her musician husband's support. As she moves adeptly from abstract, organic pastel drawings to large oil paintings, Jordan concludes "I don't care if people misread my work. Just as long as they're looking at it. I have never sold a painting. I guess I just haven't been willing to let go of them yet." The start of another painting in the black and white series was covered up in the front, porch room she uses as a studio. A reclining, monumental, nude woman occupies most of the foreground of the large canvas. The background is all black. Already, the painting has a dramatic sweep and presence. There is no racial specificity to the figure. Composi- tionally, the painting seems like a departure from earlier works, pared down, more weighty. Jordan acts mildly uncomfortable showing the work in progress, as if the exposure is a intrusion into the artist's very private thought process. "I'm not sure where it's going," she says. But it's obvious that it's Hoods, 1991, oil on canvas. already there. Several of Jordan's paintings and drawings can be seen at Uzuri Gallery. 18 Art Muscle Ammar Kevin Tate By Debra Brehmer Ammar Kevin Tate has been doing pastel of the Urban Day School represents Tate's Tate used her as a model for a woman in the often greeted with anger and controversy. portraits since he was 16 years old. Now, at investigations into African history and phi mural who is holding up one side of the Tate's murals and those of others come from age 24, his portraits have evolved into stud losophy. He incorporates patterns from Afri tapestry. "I don't think she knows ifs her," a more pluralistic source than the egocentric ies of African-American faces that are not can cloth and quilt designs, symbols from Tate said, grinning. offerings of the western mindset. Tate's work necessarily specific people, but represent West Africa and Tree of Life symbols from draws on a collective consciousness of Afri broad, philosophical issues in the culture. Egypt. On the surface, the mural presents The notions of collaboration and community can-American experience. Although the au The drawings, in rich purple hues, are tightly groupings of children and adults, organized generated by these mural projects seem dience for black art may seem less visible orchestrated renderings of faces. Masklike in the vague shape of a tree. But beyond the endemic to black art. The work is truly than the multitudes who attend Gallery Night in their serenity and neutrality, the images obvious figurative elements, throughout the embraced by the community and usually openings, the community is watching—with stare out with a comfortable assuredness, background, is the intensely patterned and spared by vandals. In the world of the major pride, interest and approval. neither distinctly proud nor politicized. The symbolic narrative of Tate's private investi ity, public art is chosen by review panels and works are about the beauty of being black gations. Tate believes that the African heri and feeling all right about it. Features such tage of all African Americans should be a as prominent lips and nappy hair are cele rich and vital part of everyday life. As he has brated. found his identity and developed his artwork out of these ideas, Tate said it changed his "I feel we should be who we are naturally," life. "I used to be out on the street, doing Tate says. "A lot of blacks think you have to things." Now his manner is quiet and humble, get more white to integrate. They straigten yet beneath that there seems to be an in their hair. I believe you need to keep your tense conviction to a way of life he hopes to own identity, get to know your true self. share with others in the community. Be Unfortunately, in the black community, the black, and don't step back. darker you are the worse people look at you. It's that old saying: If you're white you're The paint may still be wet on Tate's second alright. Yellow is mellow. Brown stickaround, mural on the side of Lena's grocery store on black step back." 5th and North Avenue. He had to finish it in time to move to Chicago to attend the School One work, Isis/Medusa Blue, is about how of the Art Institute. He had previously put in the Egyptian goddess Isis was adopted by three semesters at the Milwaukee Institute Europeans and changed into Medusa. The of Art and Design, then took three years off dreadlocks of Isis became snakes as this before deciding to attend the Institute. This powerful African goddess was turned into an mural, funded by the city as part of its anti- ugly beast. Similarly, Tate says, when an graffiti project, features a tapestry of impor African American person wears dreads or a tant local black leaders. Included are How woman has short, natural hair, it becomes a ard Fuller, the Rev. Johnson, Vel Phillips, political statement and is often looked down O.C. White, and the owner of Lena's, among upon. Tate says, "Black people hate my others. At last count, 18 portraits were to be dreads. It's non-traditional. It's anti-white. included. Much to Tate's chagrin, the num With my hair I'm saying I'm free from all other bers kept changing, requiring a few re-de people's ideas of who I should be." signs. It was obvious what a true community project this was as the curious kept stopping Along with his art and and bread-and-butter by to check its progress. A woman who lives portrait work, Tate finished two mural com across the street would sit on her porch every day to watch and her interest paid off. missions this summer. A mural at the entry Ammar Kevin Tate. Photo by Francis Ford. Charly Palmer By Judith Ann Moriarty Thirty-one year old Charly Palmer is an had her class, I hadn't worked with color, miss. With a rapidly developing career, he anything." His former drawing teacher, Wil African-American artist who has worked in only with graphite. She introduced me to fears his future travel time may be limited. liam Parks, told him that, and Palmer works the field of illustration for the past ten years, paint. She expected the best from all of her Later, over a home-cooked dinner, he re- his pieces until they satisfy his high stan and is currently employed at The Art Factory students; she was tough and I used to hate emphasised the importance of family in his dards. As an illustrator, his drawings are in Elm Grove, Wisconsin. Ironically, he has her, but she was the finest teacher I have life. Divorced, he will be picking up his two sometimes caricatures, but in his studio, he occasionally been stopped by the Elm Grove ever had. I love that woman." Additionally boys in Illinois for the trip to the reunion. marches to a differentdrum. After a work day Police who want to know "what he is doing the Satellite students were given the full run filled with the demands of commercial clients there." At night Palmer drives home to his of the museum, and Palmer happily discov Charly Palmer is a realist. He knows he (a day that could include a drawing for Thin- north 51 st Street apartment and studio, where ered the work of Sam Gilliam, a contempo "made somewhat of a mistake" by attending sulate Gore-Tex ski gloves or an illustration he concentrates on fine art paintings, and rary black artist. "I had just about accepted The School of the Art Institute in Chicago. for M&M's and Reese's Pieces), he is ready plans a future free of art directors who don't that black artists were nonexistent, because He immediately recognized the woeful lack to explore paint and its possibilities. He is like the color green. He wants autonomy, my elementary and high school art courses of fundamental courses; courses "too loosely also concerned with social issues —the dis and is gathering ideas for writing and illus never included people of my race. It was a structured with free spirits." After two frus integration of the family unit, teen preg trating books for African-American children. real revelation to discover Gilliam!" trating years, he transferred to The Ameri nancy, lack of open and honest affection, can Academy of Art in the same city, and violence, fear, hate, and despair. While he A native of Fayette, Alabama, Palmer has Last year Palmer was a guest lecturer at the graduated with a B.F.A. in 1983. "It was recognizes these issues, they do not per lived in Milwaukee since 1964. He attributes art museum's Black Art: Ancestral Legacy toughl Kids dropped out left and right. I had vade his paintings. He doesn't accentuate his success to the encouragement of his exhibit. He researched each artist, and dis to start from scratch after the disappointing the negative but glows with self-esteem and mother and grandmother. "Big Mama," (a covered that the majority had returned to experience at The School of the Art Institute. hope for a better day. name frequently given to grandmothers of Africa to study their culture and a few had I even finished two months ahead of sched African-American families) is the title of a actually lived there for several years. He ule, though I attended on a work/study pro 20"x26" acrylic collage he recently com hopes to have that experience someday gram. I gave up my social life and focused on pleted in homage to this "warm and wonder soon. academics. It paid off financially, after years ful woman who passed just before Thanks of scratching for scholarships, grant money Charly Palmer has been exhibited in a variety of giving last year." He captured her image Intricately patterned and colorful collage- and loans, I am finally secure." shows including a solo exhibition at Indiana's Michi from photographs taken just before her death. paintings, which include human figure(s), gan City Art Centre, Watercolor Wisconsin, Atlanta She is an ample, white-haired woman dominate his current inventory. Heavily in Palmer draws figures so competently that he Life Insurance National African-American Life and dressed in a casual white blouse and seated fluenced by the work of Gustav Klimt, they seldom uses models. "When you are able to Sculpture An Museum, and Dennis Uhlig Fine An on a simple red naugahyde couch. In the strongly suggest the patterns of African draw the human figure, you are able to draw Gallery in Milwaukee. background is a framed picture of a tricycle, textiles. "I discovered Klimt when I exchanged which was added to emphasize the span some gift books on Remington and Russell between youth and age. To date, no one has for a book about his paintings. My imagina seen this memorial portrait. Palmer is con tion was fired with the possibility of incorpo centrating on having prints made, so each rating pattern and design into my style." family member will have a copy. Prior to that, Palmer had been painting bil lowy watercolors and pastels reminiscent of Competition is a living force in this man's life. the Impressionists, whom he also admires He thrives on challenge, and as a youngster for their sense of soft light and lush color. His he vied with his two brothers to see who living room is hung with several Palmer could draw the best picture. But they com portraits of fat babies lolling on light-strewn peted in sports and other areas too. Before blankets and sheets, some small Impres graduation from Custer High School in 1978, sionist-style landscapes, a pair of siren-red he discovered he could actually make a liv and garish green parrots, and other works ing producing art. Through the Milwaukee collected over the years. His small studio is Public Schools Art Satellite Program, he stacked with work, including a painting of his studied art daily (for six months) at the Mil aunt's Alabama farm yard (replete with hogs waukee Art Museum. His instructor, Milwau and a falling-down barn). He was packing kee artist/teacher Carolyn White-Travanti, the piece to take it to Alabama for the yearly was a major inspiration in his life. "Before I family reunion, an event he doesn't want to Charly Palmer, Debbie Reclining, watercolor. 19 UWM Art Museum & Galleries BRADY STREET PHARMACY Sculptors on Paper Features drawings, prints and photographs by artists SOPHISTI-KIDS primarily known for their sculptural work. September 6 - October 6 Art History Gallery, Mitchell Hall, 3203 North Downer Avenue Frederick Frary Furstnan: A Rediscovered Impressionist Founder of the artist's colony Ox-Bow and an American Impressionist painter, Fursman (1874-1943) will be represented by over 110 paintings. September 13 - October 20 University Art Museum, Vogel Hall, 3253 North Downer Avenue A System of Sculpture This invitational exhibit features artists from the University of Wisconsin System campuses. September 20 - November 9 Fine Arts Gallery, 2400 East Kenwood Boulevard Opening reception: September 20 from 6-9 pm The University of Wisconsin-Milwaukee for information telephone 414.229.5070 The HISTORICAL KEYBOARD SOCIETY present** a season of MOZARTEAN PLAYERS Steven Lubin, fortepiano Stanley Ritchie, classical violin Myron Lutzke, classical cello ".. .irresistible.. .intimate, beautifully balanced" The New York Times 'Aflawl&M, exuberant performance" Open 7:00 a.m. - 8:00 p.m. Mon. thru Fri. Die Woche 8:00 a.m. - 8:00 p.m. Sat and Sun. SUNDAY, 22 September 1991 at 8:00 P.M. Comer Astor & Brady 272-4384 COFFEE SHOP COFFEE SHOP C« UW-Milwaukee Fine Arts Recital Hall More than a pharmacy, a gathering place Tickets: $15 & $13.50 Box Office 414229-4308 HARRY W. SCHWARTZ BOOKSHOPS Milwaukee's Independent Bookseller Since 1927 DAUGHTERS PAULE MARSHALL Author of Brown Girl, Brown Stones and The Chosen Place, The Timeless People Daughters is a rich, large-spirited novel about two generations of a family with ties •••• both to the Caribbean and to New York City. At its center is Ursa Beatrice MacKenzie, a well- intentioned, hardworking woman in her thirties. Cutting back and forth - from New York wmmmmm to Triunion, from past to present - Paule m Marshall gives us the intimate details, the passionate emotions of this very appealing, complicated character and vmmfmtwMHmnftmuum those around her, portraying them with A S i V I I exceptional wisdom, tenderness and grace. llllllf HARDCOVER $19.95 "One of our finest American novelists" -San Francisco Chronicle " When Marshall writes about those she truly loves, she cannot be resisted. She brings [to her characters] an in stinctive understanding, a generosity, and a free humor that combine to form a style remarkable for its courage, color and its natural control" -The New Yorker DOWNTOWN WHITEFISH BAY BROOKFIELD DOWNTOWN Historic Iron Block East Silver Spring Loehmann's Plaza Grand Avenue 274-6400 962-7997 786-8017 274-6410 20 Art Muscle Reggie Finlayson Rhythms Of Language By Debra Kay Vest Naming. Finding the word that represents, that offers the wanted label, category, color. Discernment versus discrimi nation. This is the work of the writer. Hanging out in the dynamic between identification and identity. This is also the process of self-definition: difficult. How can the self be de scribed so that its needs for security and connectedness do not clash with those for growth, experimentation? These issues were the bedrock beneath my conversation with writer Reggie Finlayson at his white, ranch-style home one Sunday afternoon. He puts the lawnmower away, washes the grass cuttings off his hands, then sits beside me on the flowered sofa under numerous photos of his wife and two daughters and a huge poster of Thelonious Monk. When asked, he describes himself first as an African-Ameri can writer, "but beyond that." His way is easy, upbeat but in tellectual. He leans way back into the sofa and doesn't look at me as he talks. Not black, African-American. Maybe I don't know what that means. What subtleties are suggested or masked by that label? At a time when most writers are struggling to articulate the re lationships between writer, text and audience; high culture and popular culture; the political and the personal; Reggie Finlayson takes his aesthetic from an ancient West African model. "I see myself in the tradition of the griot or njali, whose real function is to serve as a linchpin or a cog in a social system that helps make other things happen." Within a feudal system of landed gentry, the njali's obligation was to contrib ute through njali-craft, an art form that combines oral history, storytelling, performance poetry and music. Reggie Finlayson. Photo by Francis Ford. Phone call. We are interrupted by Sheila Payton, the chair language. Afro-Americans, it found, tend to have similar "Sometimes, for instance, I'm criticized by African Americans man of the board for Hansberry-Sands Theatre. Finlayson is accents wherever they live throughout the country. They for sounding too white. It used to be a problem for me, I used a man whose voice works the phone like Berlioz works an tend to use words the same way and have the same mean to try more to talk according to the expectations of a certain orchestra. ings for their words. They also tend to share many of the situation, and then I just got to the point where I said, 'Why do same urban stories. The research didn't find that so much I need to do that? I can just express myself the way I feel.'" Finlayson has been a performance poet with a group he within other groups. New York Afro-Americans and L.A. Afro- helped found called the New World Griots; a storyteller for Americans had a great deal in common. So I do think these He begins to tell me about a book of essays, Hopes and Art Reach, ethnic festivals and schools; a playwright for factors contribute to the creation of a closer knit community." Impediments, by a Nigerian writer, Chinua Achebe, author of Hansberry-Sands Theatre; and a musician (shekere, verim- Anthills of the Savanah. "In one essay," he says, "Achebe bau, baliphone and Nigerian vessel flute) with Ko-Thi Dance What about dialect, I want to know? Do Afro-Americans need makes the point that when anthropologists study Africa, they Company. He writes film scripts too. The majority of his to express themselves in a language that sets them apart always want to talk to the member of the community who has written work has been for performance, but he is also inter from the dominant culture? Does he believe in the concept of had the least contact with high or mainstream culture. That ested in the written word. He is drawn to the short story and a student's right to his own language? person then becomes the representative of the country. But the novel as well as to poetry and drama. "That I haven't pub when anthropologists study European cultures, their desire lished on a national scale has hurt me," he says, "I'd like to "For the purposes of self expression," Finlayson says, "a is the opposite. They want to talk to the most cultured person, have a book of my own." In addition he works on commission, student from a particular background or ethnic group should the one most steeped in institutionalized forms of learning. offering freelance public relations writing and research from be able to use his own language or dialect as a means of his home. My eyes flick to the papers on the dining room personal expression. But I think writers should have control "Within the US, I think it's the same. There's a tendency to table. Looks like my house. Then he mentions what some of as much of the standard language, or English as they can." look at educated Afro-Americans as somehow less African would call his real job as an instructor of journalism at American than the kid in the street who dropped out of high Milwaukee Area Technical College. I note his jeans and red Dialect or native tongue as one language. Standard English school. And I think that's wrong-minded in some ways be Ko-Thi tee shirt. He has an undergraduate degree in psychol as another. cause it assumes that the culture of African Americans is ogy from Swarthmore, and a masters in journalism from Mar somehow inferior." quette. He also studied architecture, herbology and transac tional analysis during a stint at Berkeley. "The languages of various groups of people are beautiful — He begins to name important African Americans from but you need to be at least bilingual, you have to be able to America's past, people in control of the language, people He talks about the importance of community among Afro- cross those lines. African Americans are at something of a who had money, members of the upper classes. Ida B. Wells. Americans and what contributes to making it strong. "Afro- disadvantage because we haven't been allowed to move into Frederich Douglas. Americans have been forced to relate to and rely on one the mainstream. We've tended to hold on to other kinds of another. There has been a camaraderie of misery. When language longer because of that, but we are moving into the I ask whether he felt it was only the white mainstream culture you're forced together you have more things in common. mainstream in terms of language and can have command of which could afford to adopt the view that poetry and politics Until quite recently in history, class distinctions within our both." should be kept separate, whether African-American work group were less noticeable and discrete: Afro-Americans of was much more likely to press its message. all classes ate the same foods, related to the same kinds of His words drift out toward a spinet piano on the other side of folk tales, and had symbols that meant the same things to the room. His daughter practices her piano lessons here. "I think there's a lot of pressure on Afro-American writers to be both political and politically correct. But I don't think that 21 "Rap is usually in 4/4 time in couplets, with a rhyme some it always happens or that it always needs to happen." He I'm thinking of my 11 year old niece, Jessica, from Eden times in the middle of the line. But if you use other rhythms mentions Chester Hymes, the detective and mystery novel Prairie, Minnesota at the Kuumba Festival last June. How it becomes more like what the griots would do and what I try ist, author of Cotton Comes to Harlem. Frank Yerby, whose she told me she wished she was black, how she asked me to do using different rhythms. African rhythms tend to be novels sold well because they "could have been written by if she could still grow up and join the company, even if she polyrhythmic with different drummers playing different parts. anybody." Paula Marshall. Also Zora Neale Hurston, "a wasn't. I see her red braid, her aqua eyes. It's the same line Like in the Manjiani. All are playing different patterns that lock fabulous writer who focuses on folklore. She wrote about I gave her. I also remember the line breathed at a friend at together, the bell part, etc. I like to do that with the words, too, African Americans, but not necessarily with politics in mind. African World Festival: "White people trying to act like black to make choral parts and have people do different parts that She was criticized for that, but her work has stood the test of people are bad. Go home." move against one another, but fit together too." time. So I don't think it has to happen, but I think there's a lot of pressure in the Afro-American community to make state About African World Festival he says, "For every person who ments that further the race. That's good in many ways, but in has the attitude expressed to your friend there is one who is I head for my car. African-American. Yes. This term, this others it can be restrictive, it can force people into these little happy to see the interest in the festival expanding now. It description says more than the word black. An African- pigeonholes: not good places to create great art." elevates the culture. It means that there are a lot of people American writer: His goals, his audience, his theme, his out there interested in finding out more about the culture and meter, his style embody what that means. Yet whatever Af rican American means must be expressed through one indi Next we talk a bit about the Milwaukee poetry scene. I ask participating, and that's really a great thing. As for your niece vidual, with personal tastes and talents, a singular voice. Yet how the New World Griots got started and before I know it he seeing Ko-Thi — now she won't necessarily look at the it seems to me that a sense of community must lend itself is telling me the story of how he tried to join the Feminist television images to learn what it means to be African more easily to collaboration, projects in cooperation with Writers' Guild in 1981. "You're joking," I reply. "What did they American. She will see more than stereotypes of black others. As I drive away, I remember something Finlayson say?" criminals, black gang members. Like the police. You can't treat people better if the images you have are negative, if all said about giving his plays to the actors and director and then staying out of the way. "I like that. It's like making love. You "No way. Get away. No, they were a little kinder than that, they you see of them is a real low-life image. The police see may know all the right buttons to push but you want to know just said: 'This is a feminist writers' guild. We can appreciate certain groups as having culture that is important, but the the other person is there, there's a need to experience the that you'd like to write, but you can't do it here." ones they exploit and oppress are from groups they see as nothing but criminals. It really doesn't matter what an African creativity of the other person." Suddenly we are off discussing the merits of separatist American wears or how he talks. There remains this as sumption on the part of the police: This guy is a criminal." As I give myself to those images, it seems to me that he was philosophies within the Milwaukee arts scene: "And the talking not only about the relationship between writer and Griots, they were all black, right?" I ask. I ask him about his poetry. Does he find African and African- director or between script and actor, but about artist and audience in general, about a process that is reciprocal, fluid •Yeah. Initially, we sent out word and got a mixed group of American traditions influencing rhyme and meter in his — in which labels fall away like clothes. people, but then it was decided that we wanted to have it as work? a black group since there wasn't a black writers' group around Reggie Finlayson has published poetry and is the author of at the time." "I use rhythm quite a bit to define the nature and structure of my poetry. Some of the things that I do are in rhyme. I like the four plays: 77?e Bagman's Gift (a collaboration with the New World Griots) 1985; Joshua Glover: A Man Bound for Free "How did you articulate the reasons for that?" couplet scheme which a lot of rap poetry uses. I like that, but more often my work is based on a rhythmic quality more than dom, 1989; Neon Lights, 1989; and Spirit Forest, 1990. His work-in-progress is an opera for the Ko-Thi Dance Company "Well, the way I explained it (because I got stuck with the dirty just a rhyme scheme. In some cases it is based on traditional titled Song ofSunjata. work), is that we were trying to explore the Afro-American tra dance rhythms. For example, I have an AIDS poem based on dition through Afro-American literature and work within that the Samba. (Debra Kay Vest is author of Children of the Glassblower, a context to make it stronger. I told them I could understand the collection of poems in TROIKA I, 1991, Thorntree Press.) need for pluralism and having an all-American kind of mixed He begins to recite the poem. "They've got a name for death group, but that context wouldn't allow us to accomplish our these days/Acquired in one's prime/Takes 'em out/Without purpose to the same extent. I told them we'd rather get a doubt/In only three year's time..." Soon he's drumming on stronger within our own context and then come out and share his thighs, demonstrating the samba beat. Bah Bah Bah it with others. Some people could understand that; others bapa Bah Bah Bah bapa. couldn't. It's the same line the feminists gave me." .^5T ? p At Half Price Books, t / - m ikk Present Music shelley hirsh We Make Enjoyable 1 f Shelley Hirsh > David Weinstein Reading Affordable. v "t AArs. Fun Paula Dewey If you enjoy reading, we know you'll enjoy Half Price November 15 and Books. You'll enjoy our selection of new and used November 16, 1991 books, LPs, records, tapes and more. And you'll 8:00 pm - Shank Hall always enjoy our affordable prices. So come to Half 1434 N. Farwell Price Books today, where you can always read more Two of New York's most for less. Now that's an enjoyable experience. compelling artists, Shelley Hirsh and David Weinstein, join Present Music to make music that features HALF RECORDS. m r s . fun "jazzy improvisational scat PRICE MAGAZINES Mrs. Fun singing, halucinogenic and Paula Dewey Wagnerian arias, and will also add their snatches of text spoken in BROOKF1ELD Brookfield Fashion Center • 16750 W. Bluemound Rd. • 789-0280 unique and special exaggerated local accents." (Between Calhoun and Mooreland Rd.) talents to these MILWAUKEE To order tickets or for Plaza Plaza • 6814 W. Brown Deer Rd. • 354-1235 evenings of more info please call: Both stores open 9 a.m.-10 p.m. Mon.-SaL • 10 a.m. - 6 p.m. Sun. extraordinary diversity. 271-0711 We buy anything printed or recorded daily. paula dewey 22 Art Muscle Evelyn Patricia Terry Create Your Own Mainstream By Jacqueline Richards Evelyn Patricia Terry. Photo by Jim Brozek. Evelyn Patricia Terry, a Milwaukee artist, responds color. They don't believe there is plenty on earth can-American art exhibit She definitely needs to toquestiomftompainterJacqueltneRichardsabout for everyone—so they try to keep it in their camp. hire a black curator or change her attitude. issues they regularly discuss. Richards is returning They do that by negating others worth, denying to Milwaukee to teach at the Milwaukee Institute of access to institutions, and controlling thought pat JR: / really try to see the future as positive. Have Art and Design after a year's hiatus in New York terns. Sometimes they just kill you. When a family these experiences had any effect on you? As an City, which included a teaching stint at Princeton controls in this manner it's termed nepotism. When artist, what is your responsibility to correct things? University in New Jersey. another sex exerts this type of control, it's called EPT: Negative experiences always affect one in sexism. Racism results when one race exercises some way. I am motivated to action by them. Jacqueline Richards: How did you become in control over another race. When the same thing Looking back to the late 1960s, I thought I was volved in art? happens within a race, I don't know what it's going to be the "first" black artist Then, in the Evelyn Patricia Terrys Higher education was a called. I do know that all of it gets in the way of library, I discovered a book on "Negro" artists. I was priority for Jessie Terry, my mom. Though we progress. I don't want to let anyone off the hook very angry. I asked my professor about it and he knew litde about college, I was encouraged to go. and all of these "isms" should be corrected, racism simply said that they were stykzed. I began to travel It was scary at first — so many white people. included. Sewing class was definitely my firstobvi a lot and seek out black artists. I even went to New Initially, my grades were bad and I had no sense of ous encounter with it at the University of Wiscon York as a student and was invited to dinner by the direction, so mom suggested Home Economics, sin-Milwaukee. Then there was speech class. The late Romare Bearden. I met Betty Blayton and because I could sew well and cook. My souffles fell instructor refused to certify me to teach because attended a party at Faith Ringgold's house. I joined and none of the African Americans received good she said I needed speech therapy, as did the other the National Conference of Artists, a black artists grades in sewing despite our efforts. I finally took black person in my class. The therapist said I had no association. Related Arts, another Home Ecomonics course and speech problem. I still did not receive certification. the instructor, Ms. Stange, was normal — so rare. These contacts inspired me to curate exhibitions, She encouraged me to consider a major in the art Later I felt that there was a big problem in the Art produce catalogs, write reviews and features. I department. Department and the Art History department be celebrate my accomplishments and those of others cause there was no mention of the achievements of like myself to answer the question about "good JR: You allude to racism inyour sewing class. Did African-American artists in any classes. That was 20 black artists." We do not need Jansen or Hilton you experience racism as a student? If so, how did years ago and to this day, there are no full time Kramer to say what's good. I cannot stand a few it prepare you for the racism in the art world? black tenured or tenure track professors in those arrogant humans dictating to all these institutions EPT: Living everyday prepared me to accept nega departments, that I am aware of. of higher learning personal likes and dislikes and tive people, things or actions as being "here to pretending they have scientific proof that stay." Racism is like the weather — it is. One can Gail Shaw-Clemons, a black artist, once asked a somebody's art is good or bad. If Julian Schnabel or cope with it at times, then again, it can get on your recent chair person in the UWM art department David Salle are good—anybody can be. I'm good last nerve. One might have to change their mind, why there were no blacks. Her response to Gail just because I work. plans or location. I believe in fighting back when was that "blacks cost too much." She has also said it's necessary. You also must distinguish between that the blacks she interviewed are not familiar with JR: Black artists often feel that our exclusion from institutional practices and individual behavior. contemporary issues in art and don't know the major art exhibitions is not an oversight, but a There are many badly developed people of every jargon. This same person wants to curate an Afri- concerted effort. The exhibitions you curate often 23 (CONTINUED FROM PREVIOUS PAGE) feature only blacks. How are your actions any and achievement. He changed his style whenever from art distributors who work for art factories. different from the perceived racism when only he liked, plus he made a lot of money. They are buying black images done by anybody, whites are featured? and are not supporting their cultural community. EPT: I don't think we are different Mostly we have JR: Money seems to be a constant in your conver the same goal which is to exhibit the works of sations. Do you see any validity in the starving JR: Evelyn, you are 45, female, lefthanded, di people we are interested in. The problem is we artist mentality or the notion that art should be a vorced and have two children, plus you are black, need role models and access to systems that we labor of love? all supposed handicaps. Yet you have managed to have not known how to access — like museums EPT: I know that money is wonderful and with it survive and enjoy the struggle. Do you have any and textbooks. We are recovering from years of one has great autonomy. The so called "starving advice for young artists? enslavement, first physically, and then mentally artist" is waiting for someone to discover them. EPT: Create your own mainstream. Don't wait for and emotionally. Now, we are increasingly wanting Discover yourself and the world will beat a path to acceptance or permission. Jesse Jackson is a good access to everything without the supervision and your door and you will be rewarded. example. He gets involved with whatever he wants permission of the "Great White Father." More of us to be involved in. If he had asked to intercede for are preparing to continue our contributions to the JR: I've heard so much conversation about black the hostages, he would not have been given per legacy of the universe which was temporarily halted art. Is it a concept, a style, an image or an attitude? mission. I have finally grown up to enjoy all the by slavery. Whites seemed to have embraced the EPT: Black people create black art. It's that simple. "handicaps" that you have pointed out. I like me. artwork of Africa, Haiti and black "outsider" artists, I've never seen a book on Egyptian art with Italian but in every instance these people were initially art in it or vice versa. There are many people It is necessary to find a person who has achieved exploited. They were not given the standard 50/50 arguing about whether this artist or that artist is what you would like to achieve and ask that person dealer/artist cut Collectors and dealers bought creating black art or whether they are Eurocentric. questions. Get in support groups. Seek advice. work outright for little or nothing and resold it at a I really don't care. But, just for the record, the Support the efforts of other artists. Buy original art great profit. Educated, black artists have not gener beginning of human life was established in Africa, for the pleasure of it. Please yourself and cooperate ally been acknowledged. Artists such as Faith so that all aesthetics conceivably are "black." It's with others. "Wanting to please" is passive and Ringgold, Howardena Pendell, David Hammonds really a problem of control again. Why should invites people to take advantage of you. and Adrian Piper constantly speak out and are someone's vision be imposed on another and they forcing doors to open to their work. The squeaky have not retained you for a fee? Yet people do it JR: What do you see yourselfdoing five yearsfrom wheel gets the grease and that's good enough for every day. An example is Imiri Baraka questioning now? me. Spike Lee's integrity concerning his upcoming film EPT: I'd like to be involved in a wonderful marriage on Malcolm X. Why doesn't Baraka make a film to a busy, politically correct man. My commitment JR: Ringgold and the others have influenced your about Malcolm X the way he envisions it? There is to my children, nowl4 and 16, would be fulfilled, actions and attitudes. Who has influenced you room for his vision too. We need many movies so I would like to travel on a lecture circuit with my aesthetically? about Malcolm X. Anyway, if Baraka had written Subtle Memories and Empty Promises installation, EPT: Raymond Saunders and Francis Bacon, a according to another's dictates, I'm sure he wouldn't or with some other exhibition that I have curated. black and white artist respectively. Saunders from be the celebrated poet he is. How quickly we I will be painting and producing original prints a magazine clipping of blocks of colors broken into forget. again. I should be enjoying the royalties from vertical spaces and Bacon from a postcard I carried authoring a cocktail table book with full color around for a year with lots of vertical strokes. The The main problem with the term "black" art is that reproductions of African-American art from the world is like a still life and I pick and choose images people buy art with black images, possibly think 1960s and 70s. That book is a twinkle in my eye as I respond to them. Picasso is "it" for me in attitude ing that they have bought work by "black artists." now. That's not good. Some banks in the inner city buy r Outpost sells the 'best organically grown produce.' Outpost started as a buying club on With over 21 years of experience selling Milwaukee's Lower East Side in 1970. organic produce, Outpost now offers the The buying club spent much of its early largest selection in Wisconsin! Stop in energy importing organic produce from today and see for yourself. California, meaning that Outpost's experi Inside Outpost ence with organics goes back almost 22 years. Saturday, Sep. 21. 11 am to 2 pm. Or ganic harvest sampler. Sample the Now, in its August issue, Milwaukee Maga best organic produce in Milwaukee, zine described Outpost's produce aisle as Free. "replete with voluptuous fruits and vege tables grown without pesticides, insecti cides or fumigants." This assessment earned Outpost the designation of "best organically grown produce" in the area, Natural Foods according to Milwaukee Magazine. Since 1970 • Consumer Owned The recognition comes just as this year's organic harvest — including apples and 100 E. Capitol Dr. 961-2597 squashes — starts to come in from the Mon-Sat 8 am-9 pm, Sun 10 am-5 pm farms in the area. The largest selection of natural foods in Wisconsin. 24 Art Muscle Uzuri Gallery By Niccona Teichert The Swahili word Uzuri (beauty), is ber, but there is royalty in our history, a appropriate for the ethnic gallery that history which started in Africa. Tribal was opened this past May by Renee Al- chieftains, kings, and queens were some len-Momon; however, the beauty of the times uprooted and brought to America gallery rests not only in the art, but also in as slaves. We (African Americans) prefer the owner's philosophy, which embraces art that reminds us of our heritage, and an understanding of her African heritage. look for our past in things that speak of family and link generations." It's a typical quiet Sunday morning at the corner of 5132 W. Center Street in Sher Allen-Momon is offended by art which man Park, and a few people from this depicts blacks as naked, spear-throwing residential and business neighborhood savages. "Although tribal life is primitive, are looking in the front window of Uzuri it is seen as savage by westerners. In Gallery. The owner opens the doors and Africa, tribal living is seen as a natural personally invites the hesitant in to ask way of life for some. Most westerners see questions and browse. She is interested Africans in the pages of National Geo in the surrounding community and wants graphic. We want to be reminded of our the outsiders to feel welcome. past, but it doesn't have to be a reminder of barbarism, it can be a reminder of Once inside they see walls covered with family and tradition. drawings, paintings, prints, wood carv ings and textiles. Newly arrived pieces "Learning about ethnic art is educational (shipped from Africa), share space with because the art expresses history. Learn- works by Dennis Byas, Calvin Greer, Reynaldo Hernandez, Loretta Jordan, Emmanuel Peters, Ammar Kevin Tate, and Evelyn Patricia Terry. "Their views all differ, and they are more in tune with their creative sense than the average person," Allen-Momon says. She obtains art directly from the artists, takes consign ment pieces, and buys from printing pub lishers and friends who travel to Africa. Her customers are from different eco nomic and ethnic backgrounds, but the majority of them are 20-50 year old black professionals. Allen-Momon has no formal background in art, but she has a good reason for opening the gallery. Renee Allen-Momon. Photo by Francis Ford. "Every place I traveled, there was black ing about other cultures is a growth proc art except in Milwaukee. Milwaukee was ess. Human beings shouldn't be ashamed dead," she says. She wanted to give black of where they come from because all artists a chance to show their work some cultures have some good and bad ele place other than from their basements ments. It is limiting to know only about and closets. She carries a range of expen your own culture for as cultures grow and sive and affordable pieces so more buy come together, people will need to learn ers can have black art. about each other. The imagejaf Africa as a poor nation with famine stricken people In July of 1990, during a trip to Nigeria, on the streets, is misleading; in fact, many Arkansas born Allen-Momon was con Nigerians live 'large' Giving 'large' is to be tinuously mistaken for a Nigerian, be economically secure)." cause of her large brown eyes, high cheek bones and broad nose. She believes her For Allen-Momon success is not meas ancestors are indeed from western Africa. ured in dollars and cents, but in the gains She understands and speaks some made in understanding herself. "Open Yoruba, works for Channel 4 as an opera ing the gallery was daring, but it was tions coordinator, graduated from UWM something I wanted very badly. I hope to with a degree in communications and see Uzuri filled with activity. management, writes poetry, is married to a minister, and has two children. (Niccona Teichert is a Marquette Univer sity journalism student and an intern at The art in her gallery deals with the black Art Muscle). experience and her current artists include those of West African, Brazilian, African Other places to find African and African- American and Hispanic heritage. She American art: looks for pieces that are unusual and Ewa D'Aftique, opening Nov. 1 at 2010 exhibits black art ranging from realism to N. Farwell, will specialize in art from all abstraction. over Africa — masks, sculpture, textiles, trade beads, etc. Much of her inventory represents the Village Bazaar Gallery, 2201N. Farwell, positive aspects of the black family and specializes in ethnographic arts from their traditions. She doesn't carry any nearly 25 countries, including African thing that she perceives as offensive, yet sculpture, textiles and masks. she doesn't ignore black history that has Nautilus at Bay Shore Mall carries a large negative implications. inventory of prints and posters by Afri can-American artists as well as some origi Portrait of a Negress by Marie-Guillem- nal work. ine Benoist, she says "reveals a part of our Posner Gallery, 207 N. Milwaukee, has heritage that some people don't want to work from New Guinea. Milwaukee's Longest Lunch.11am-MidnigM. remember, but that we should not for Dennis Uhlig Fine Art, 1932 E. Capitol get." The print illustrates a female slave Drive, represents several African-Ameri dressed in a white turban and gown with can artists and also sells prints. 1111N. Water 274.7213 her breast exposed. "Some don't want to Valeries Gallery, 1200 S. 1st St., carries be reminded of slave exploitation be African sculpture and Outsider art. cause it's painful and negative. Unfortu nately slavery is all some people remem 25 Celluloid Intensity Iverson White By Stephen J. Biersdorf White's films also serves as a buffer to films nearly-completed film to the independent picture industry. The other side of that same like Angel Heart, which follows the stere feature market in New York, and see if we coin is that the films can be made relatively otypical bend of African religion as having University of Wisconsin-Milwaukee Profes can interest a distributor in picking it up, cheaply in comparison to Terminator 2 or elements of black magic and voodoo, and of either for theatrical distribution, cable or sor Iverson White rubbed his forehead, something like that," White said. "A black being evil. "I try to take care not to offend home video. I suspect it wouldn't play on film works on much of the same levels as any repeating the question over and over to African history, African mythology, or Afri networktelevision, bu t I could be surprised," other film. If if s a good film, it will have some provoke the appropriate response. What can gods, which I think is a departure from White said laughing. universal appeal." prevents his filmmaking style from crossing mainstream American movies." over into the mainstream? The market for independent films is growing White's films, by his own admission, are not White understands what it takes to bridge at film festivals, and due to the achieve "PolitJcs," White finally said. made with a white audience in mind. If a the gap between a small, independent ments of independent filmmakers that have white audience can enjoy it, fine. But the filmmaker, and one which is commercially- made it big. Coupled with the recent success White has just completed a feature-length intention is not there and White says, not by sponsored. The biggest difference is the of a number of black filmmakers, most nota film, Magic Love. It is the story of an African any purposeful design or animosity. He firmly size of their budgets. bly Spike Lee (Do The Right Thing, Mo' man and woman separated by slave trad believes in using personal experiences to ers, and then reincarnated and reunited in craft the script and film, which lead him to contemporary society. Both characters are White used himself as an example. Magic target a specific audience. "I suspect there's Love had a projected budget of $95,000. "sexually dysfunctional'' until they are united. a lot of people like me — black, fairly well- Had the budget been larger, White would educated, relatively middle-class with work White described the film as a "bizarre love have filmed some of the period scenes in story" and a "fantasy." ing-class roots, children of the "60s and Viet volving the protagonists and the slave trad nam. Those people will recognize the stuff in ers on location in Africa. Instead, he opted the movies." There are elements of hard-edged realism in for the backdrop of constructed sets and the Magic Love and White's previous film, Dark Wisconsin wilderness. "If s so hard trying to The appeal of filmmaking autonomy holds Exodus, that may offend the sensibilities of make a decent film on a shoestring." more mainstream viewers, but are neces considerable sway for Iverson White. sary elements to the authenticity of the story. The quest for adequate funding to finalize a "I like the independence. I like making the product adequately is a difficult task for the films my own way, not having to answer to For example, Dark Exodus opens with a small, independent filmmaker. White relies anybody about what's in them or how I'm man being hanged. In Magic Love, the female on grants. doing them. I'd like to have more money, but protagonist is raped by a white slave trader, sometimes you have to compromise to have becomes pregnant, and murders the child. more money. I make films for me." In Magic Love, "I don't pussyfoot around the The idea for Magic Love was first conceived idea that these African women taken as in 1982, and eventually became a 70-page slaves are raped on these slave ships," script that will translate into between 90 Iverson White is a professor in UWM's film White said. "If people gain many of their minutes and two-hours of film. White is department, and an independent filmmaker. impressions of black history from movies, waiting for a $20,000 grant from the Ameri Iverson White He is a graduate of Wayne State University then its a disservice to our history if I knew can Film Institute to have a print of the film in Detroit, and holds a master's degree in for a fact that many women fresh out of ready by April 30 of next year. And to receive Better Blues, Jungle Fever) and John Sinperforming arts from the University of Cali Africa killed these children rather than have a film grant, White said, one has to already gleton (Boyz N The Hood), the time seems fornia-Los Angeles. them be slaves. You don't have to like it. I have an established reputation. right for aspiring black filmmakers. actually don't care how the audience feels (Stephen J. Biersdorf is Editor of The Mil about it. The point is if s a historical fact." "The end is in sight, finally. I can think in "I suspect the bottom line is these films can waukee Times) terms of how I'm going to get that distributed. make money. Money is usually the bottom Probably the first thing I'll do is take the line for anything that happens in the motion The intent of accurate historical portrayals in -3 Backroads Mel Rhyne By Bobby DuPah fellow who called himself "Dual Horn" Wash speakers send the sound in every direction, keyboards nor played more eloquently than ington. In a style similar to Roland Kirk, who enveloping the audience, the B-3 can make by the jazzmen that brought it out of the Milwaukee has never been known as a big was then living in Dayton, Dual Horn at you shiver. church. jazz city. Yet dignitaries such as Al Jarreau tempted to play two saxophones at the same and Woody Herman as well as notable time. Unlike Kirk, Washington was "kind of It made its mark in jazz in the persons of For a real treat, go see Melvin Richards at younger players like Brian Lynch and David rough to say the least" but Kirk, while pass Jimmy Smith, Jack McDuff, Jimmy McGriff Eddie Jackson's on Fridays and Saturdays. Hazeltine must admit having been bom here, ing through town was curious to hear what and Rhyne among others. Rhyne remem He really makes that organ grunt and scream. so perhaps things aren't as bleak as they Dual Horn, andtfiereby Mel (who was in the bers first hearing Smith on a juke box: "He Unfortunately, the Wyndham has not found seem. Venues such as the Estate, the Jazz band) could do and so stopped at the club. really blew my mind, the way he was clown it worthwhile to install a B-3 in their lounge, Oasis, Eddie Jackson's, the Main Event and Kirk himself was established, though not yet ing and having so much fun." It made a big so Mel is forced to play on an electric imita Cafe Melange have given us jazz entertain renowned, and invited Mel to leave Dual and impression. Later Smith would show up at tion at lounge volume. Sort of like listening to ment featuring local celebs Manty Ellis, start a trio with him and drummer Wilbur clubs where Mel was playing with Wes Pavarotti on a transistor pocket radio. The Berkeley Fudge, Hattush Alexander et al. Jackson who had worked with Slide Hamp Montgomery. "He [Smith] would just come in quality shines through but you have to sup Not to mention numerous restaurants which ton. What about a bass player, you may be and sit down on the [organ] bench and move ply the dazzle. offer quality jazz background music. wondering? An incredibly deft left makes me out." Rhyne didn't mind since their styles Mel a two-for-one bargain. (In fact, bass differed and he'd want to hear him play. Rhyne not only remained true to the B-3 but I don't claim to know much about jazz, but I players have been known to come to see also held steadfastly on to his own convic have heard of some of the bigger names. So Mel just to hear his left handed bass lines.) Though most people were introduced to the tions concerning what kind of music he was when a friend mentioned that the keyboard He worked this gig for about two years. Life B-3 via the distinctive Booker T. Jones of willing to spend his life playing. He didn't accompanist in the Wyndham Hotel's lounge in the clubs meant working seven nights a Booker T. and the MG's and their hit Green even bother mentioning the fact that Aretha had played with Wes Montgomery, I had to week plus a matinee, but Rhyne survived, Onions, other well known pop/rock/soul Franklin once invited him to play in her band, raise my eyebrows and pause between bites evolving musically into an organist and but, according to the same source, he didn't of corn on the cob. I'd never actually seen changing bands to suit his tastes. The first illllllliplilliillllill«(i^lliiiiiiill think the music was worth it. Having ap Wes (I'd often seen brother Buddy at the time he played a B-3 organ was on stage at 1 peared on three of Wes Montgomery's al Bombay Bicycle Club downtown in the late a gig in a showcase bar in Chicago, but If*" * bums, Mel decided he didn't want to buy into 70s), but his name more than registered. despite the keyboard's idiosyncrasies, Mel Montgomery's attempt at commercial suc Donning my cleanest tee-shirt, I slipped into took to it easily. It was the start of a love affair cess which was a more mainstream "wa the lounge and proceeded to nurse my ri with the instrument that would not only last a tered down" version of jazz. Although the diculously low-priced entrance fee. Song lifetime, but would quickly establish him as move proved to be a mistake monetarily, after song—from Cole Porter to Harold Arlen one of the most respected jazz musicians in Mel has no regrets. And despite unending to the Gershwins—came jumping out into the country. lectures from family members about the the slick decor. While the singer's renditions pointlessness of being a jazz musician, he were startlingly sophisticated and inspired, I Much to my editor and probably everybody persevered. "Jazz musicians are rejects," as found myself looking forward to the piano else's chagrin, I am compelled to detour far as Mel is concerned. breaks instead of dreading them as I usually here on a B-3 back road. Though few of you w do. May I introduce Mel Rhyne. other than an errant Lee Michaels junky (Do llpi; Twenty-two years after his last recording You Know What I Mean? circa 1971) know limit session on Impulse Records this rejecf s te Came to earth 54 years ago. Indianapolis, or care what a B-3 is, you are about to be • nacity paid off. A recent call from Herb Ellis, Indiana. Father played piano and taught him inundated with knowledge of same. The who is according to acclaimed jazz critic/ Mel Rhyne to play the boogie woogie. Started his pro Hammond B-3 organ is literally and figura composer Leonard Feather, "one of the fessional career at 16 with a seven piece R tively the most holy member of the pop organists such as Charles Hodges of Al greatest modem jazz guitarists," ended his & B band that played teenage dances. All music instrument family. Originating in the Green's band, Greg Rolie of Santana, Felix hiatus. The project which includes notables the while, he played jazz on the side. The church and still maintaining a stranglehold Cavaliere of the Young Rascals and Jon Johnny Frigoon violin, Jake Hannaon drums, only instruction he ever received was in the on that market, the B-3 is the gospel sound. Lord of Deep Purple helped carve a niche for Mel on a B-3 and the deft left on bass is in the form of hints and suggestions from the older Cantankerous in character and behemoth in the instrument. My personal favorite is Al stores and doing very well on the jazz charts. musicians around the city. One local big girth, it is a testament to its inimitableness Kooper of Blood, Sweat & Tears who was Look for Roll Call on Justice Records. Better band leader asked Mel to play in his band. that it is dragged by soon-to-be-broken- also given credit for introducing the yet, go see this jazz master "accompanying" He learned the parts by ear. Chicago radio backed roadies, repaired by emergency- "Dylanesque organ" on songs such as Like Jackie Allen at the Wyndham, every Wed was the main nutritive source for the young technicians-who-drove-300-miles and dog a Rolling Stone. Best when used as an un nesday through Saturday. Whether we know Rhyne. gedly copied by modern electronic keyboard dulating almost subliminal pulse, the hyp it or not, we have a true jazz legend and lu manufacturers. Played always through a notic, growling, woody sound of the B-3 will minary in our midst. His first lucky break was embodied in a contraption called a Leslie whose rotating never be duplicated by modem electronic 26 Art Muscle Gospel Religion With A Beat By Cynthia R. Davis Gerald Saffold. Photo by Francis Ford. Heartfelt tears of joy, shouts of praise and feelings of "Gospel artists are demanding more attention by saying church. "Young people have certain energies that need hope and gratitude are often freely expressed by indi "We're artists too,' and they are saying it to record com to be addressed spiritually." So he is prayerfully instruct viduals who attend gospel concerts and programs. These panies, supporters, media and more, so they are now ing his children on how to conduct themselves in and out emotions are invoked by songs of praise and commit getting more attention," Thompson stated. of the public arena. ment to God. It is not only the music that is so appealing but the words and messages that reach the soul or spirit. But what exactly is gospel? Anthony Latimore, manager Elder Gerald Saffold, director and founder of Unity in the and father of the Latimore Brothers, a Milwaukee gospel Community, a Milwaukee choir made up of individuals Lord, I dedicate my life to you, singing group which specializes in five part harmony, ranging in age from mid teens to mid twenties, was very Makes no difference what others say or do, defines it as "the word of God put to a melody, because concerned about the spirituality of youth in 1983 when You always hear me when I call always catch me gospel means the good news of Christ." he was led to begin this powerful group of singers. His when I fall, group is a community choir made up of individual youth Lord I want to be used by you The Latimore Brothers began their singing ministry eight from various churches, many of whom are former gang years ago singing two part harmony in n ng homes members or people who have been termed "delinquent" or and prisons with their father's Evangelism team. They by society. have grown in harmony and in number—from two part / thank God for the blood that came streaming down to five part harmony as younger siblings, also blessed "I kept hearing negative things in the media about young forme. with musical talent, have joined their older brothers in minorities and the crimes and other things they were It was the blood that made the difference the group. Jacob, Anthony, Jr., Nathan, Jason and Ivan doing and I said 'Lord this must be a minority of youth at Calvary. have appeared this year in Flint and Kalamazoo, Michi who are doing these things.' So while working with gan, Indianapolis, Chicago andMinneapolis, and will be Jeanetta Robinson (founder of the neighborhood group Gospel songs combine passages from the Bible, words of singing in Iowa and Tennessee later this year. They are Community Youth Development) for a gospel program encouragement and numerous combinations of instru also in the process of cutting their first album which is they were sponsoring together, Saffold began Unity in ments and harmony. The music is increasing in popular being recorded in Chicago and Los Angeles and is being the Community with the over 100 youth who had volun ity and in long overdue recognition. produced by Darius Brooks and others in Chicago. The teered to sing in the program. They have been together album is scheduled for distribution in spring, 1992. ever since. Gospel music has become an attractive arena for many artists, including those who primarily cater to a secular, Thompson stated, "The Bible tells us if we want to reach Saffold, the pastor of Foundations of Prayer Worship non-Christian audience. Anita Baker has recorded Ain 't souls we have to be wise." He elaborated by saying that Center, feels that singing is simply an incentive for youth No Need to Worry with the gospel groupThe Winans, and there are a variety of musical tastes among the human to come together. Unity in the Community is a group that solo artist Howard Hewet (former member of the group population and there are various forms of gospel or encourages and motivates young people to do their best Shalimar) usually records at least one gospel tune on spiritual music to suit those tastes, whether one's prefer in school and in life. "We encourage them as best we can, each album he releases. ence is jazz, R & B, classical or rock and that there's especially by introducing them to a living savior. I have nothing wrong with that variety. seen young people go from a 2.0 to a 4.0 grade point Carlton Thompson, a local music producer said, "Music average and I have seen ex-gang members become has taken a turn in a new direction. It used to be that "God created music, which is only as good as the person deacons in the church." when someone referred to gospel, people thought of who renders it. If your life is exemplifying the message good old hand-clapping, foot-stomping music like you're singing about, that message will reach others." Whether the listener is young or old, they should recog Mahal ia Jackson and the Mighty Clouds of Joy. Now, nize the fact that the true message behind sincere gospel when you turn on the radio, you can't always tell the He went on to say that "if someone thinks that God is so singers is the inspirational message of Jesus Christ, and difference if it were not for the lyrics." narrow-minded as to only have one type of music I the victorious message that there is no defeat in Jesus. would have to question that person's spiritual maturity "Many gospel artists miss what God wants them to have Thompson produces gospel recordings, radio commer and how much they really know about Christ and Salva because they are focusing on 'star status.' If I never make cials, jazz and R & B. Though he began producing tion." an album I don't care. My soul and my fellowship with various artists in 1985, his first solo production was his Jesus is what matters to me," Saffold stated. own album .4s We Walk in His Light in 1986. He has Latimore agrees. "This is another avenue that Christ is produced projects from other artists including Betty using to minister to souls. If we don't allow that tool to be This is the message that gospel artists seek to convey. Burns, Ron Hunt, Rodney Washington, Universal Peace what it was intended to be then we've failed in our work in Christ Mass Choir and Rapture (a Christian rock group). (for the Lord)." He also believes music is instrumental in (Cynthia R. Davis is a freelance writer whose articles keeping young people encouraged and close to the regularly appear in the Milwaukee Times,). 27 Ko-Xlii By Ruth Yasko who have never experienced, outside of a high school play, being a part of the artistic process in terms of integration of the arts. My feeling is that it is something that we need to do so that we get a better understanding Only a good person can create good art. of the arts. African Proverb Some of the most prejudiced people that I have run into are people who teach music in music departments who feel that the only kind of music is that which is written The African definition of good art means down, which is absurd because that discounts half of the intact - with the understanding of what we, earth. in our community, need. So that the person Regarding music, aren't the musicians an integral part who creates good art is a person who has a of your performance? There is no separation between the music and the dance, full understanding of what his or her the most important thing a musician can do in our company is learn how to accompany a dance class. The responsibility is in that community. women in the company play their own drums so that they Feme Yangeitie Caulker can gain an understanding and become more aware of Director and Founder Ko-Thi whats happening. The musical director and I think of what we're doing as a merger. As I am creating the dance form, he is creating the music or we're researching it together so that there always is this connection. frican nafive Feme Yangeifie Caulker founded concerned, is zero in terms of knowing about their Your company believes in a holistic performance ap Milwaukee's Ko-Thi dance company 22 years ago ancestors in a positive way. proach, involving dancers with all aspects of the art A to celebrate the African culture. Today, Ko-Thi form. (meaning seek and embrace the African culture) includes The average American never comes in contact with the Built into our rehearsals are training and voice and 40 volunteers and a core of nine dancers who balance full culture, the language, the literature^ the music and the drumming, for the women and the men. We have time employment with a dedication to their art. The com dance forms of Africa as high art. When you were grow constant technique classes that we do. We also offer com pany has toured in Japan and received excellent reviews ing up itwas an accepted fact that to be a cultured person munity classes, and we also have research classes where in New York. Ko-Thi regularly performs for school you should know about classical music from Europe and company members are required to participate in certain children and to sold out audiences once a year at Alverno it has almost been as if there is no other form of etiquette. types of research. College. Granted, there was a J he world where Europe was the established etiquette. But we're going into the year How does research complement your repertoire? How has African dance survived outside of Africa 2000 where we're talking about a world that is multi There are many different dance forms. For example we despite formal and often brutal opposition? cultural, where European culture is now the minority and havea piece in our repertoire called Djuba. And whatwe The African art, or African spirit, rather, is one in which s we traced the form to W. Africa. We have never the arts are an integral part of expression or spirituality. s to see the step, but we have read about it. They Dance and music are the direct means by which that Doing what we do in this company is much more of a >ba and by the spelling we're assuming that it expression is brought forth. holistic process than even becoming a dancer in a ballet came f Senegal/Mali area because it sounds like company because when anybody goes into the ballet they thatkir je. That dance form we were able to What happened, regarding slavery, is even though you are already going there with a certain kind of knowledge trace to Haiti and there's a dance and a rhythm there moved the human beings to another environment you did of that subject. When our young people come to us they called : you go to the Carolines, in the not totally eradicate the spiritual side o person. '•com© at'an aniph^^ a dancer called William Henry Certain things continued and became a thr- T when e and he we JS for a step called Juba. Ifs got tribes that were very different were put together. Spiritu With a world philosophy emerging in the 90s do you to be the same s -: ality and use of the music was still a think it will be easier to gain mainstream interest and fundi; The cui d in art is to borrow rather What space does the expression fit racer's life? Our statement is very simple, our company is 22 years than create. Do you see the African influence in the work How does it help them connect witt. ility? old, the same age as the Milwaukee Ballet. We fee! that here examples of African African dance is an art form that is jn that we are in the same status, artistically, as the ballet and the culture that we use daily without realizing their origins? comes right out of the spirituality of -!e. It is f|e symphony. The only reason we can't jump off the ground There are a lot of words that you can hear that have way to communicate with the ancestors, tc- ••Hh the iswecan'tgetenouqhofanendowmentsowecanqetour can fabric. For example, gods. In Haiti the Vodoun (gods) come to earth through people salaried. an African he Brer Rabbit stories that the body of a person and the person dances. The god every sney invented, those are tradi- dances through the person's be The question is: Is society ready to deal with a major - stories they' re in W. Africa in the oral dance company that does not reflect the European ethic? tradition. v \ If you go into the black church a se what the;; Thafs the ultimate question. We're attempting to chal testifying, people jump up in t lenge those doors. It remains to be seen if we accomplish : ns come from a tradition that we call an oral "Amen" — it's physical, the dance that or not. If we don't accomplish it then the answer is no at no matter what actually occurred, there communal effect. —society is not ready. Ifs ready for us to keep doing what sm to trigger the memory and we are doing as long as we don'tchallengethe status quo. ition. Sothatswhyyoucan Does the mainstream audience accept or rr go into a black church today and the black people in that attempt to understand your art form? What, then, can your audience — especially African the very process that they I have a 22 year span with which to answe, Americans — gain from your work? s a response to his sermon, I would say that is has been an awesome ar. What they gain is first of all a sense of pride. We have the way black people sing with the choir responding to the and enlightening experience to realize that most people to remember that in the black community there are so few solo singer has African roots. who are humane and fair get a thrill i times that you can actually look up and see something with black Americans rediscover anc ss. which you can say "My god, look at that. That's our can you finally sense your people doing that" with a sense of pride and a sense of tify with you? I've had white people come up and Yes. It "hi has a huge following. To me, guys seem so into your stuff and its so good to see this — its a c iiment and a moral responsibility. There I wish I was black." My response to them is always "No, Families can bring their children and they know that their are people who have been watching us for 22 years, : you don't wish you were black—whatyou wish is thatyou .' : ••; •. :••;.: : \ :• . ': " • •"• :•.,.."' ••. •"./..' -'in en the differentdances come and go and the/ve yourself were tied to something that would lift you this to see :tion with o. f that deais watched the matriculation of the program. With that way." with th si. comes a certain kind of continuity — when I step out on stage I feel like I know who the people are out there and Because much of your audience watches your work Do you feel that dance and music in this country are they know who I am even though I may not recognize them under the prejudice of a western philosophy how much segregated? on the street. of an effort do you make to explain your work? Yes, in terms of the curriculum of our school system the My mission is much larger than just educating black western world tends to departmentalize everything. All I guess what happens is that i n the moments that I don't feel people, although thaf s my first priority. We want to open you have to do is go info a regular university and look up like I can do this anymore and I am fired, ifs like this doors for the young black people who come into our fi ne arts and you have a department of theater, music, and institution of Ko-Thi has a lite all of its own nowanditwon't company so that they can see beyond what the educa dance and very rarely do they come together to do joint stop — I can't stop it. **b tional system has given them. Which as far as I am productions. We have people who are leaving college 28 Art Muscle JEFFREY DAHMER M^W€> VIEW: By Jerome Schultz By Julio Romanski The discovery of Jeffrey Dahmer's eugenics an assault against the power of the monied By the time you read this, sometime in the identity in order to erase him from our world. storm and the revelations of his home-alone and advantaged classes. second half of September, Jeffrey L. Dahmer death factory have stunned and shocked the will have appeared in court to enter a plea to But those words, that pre-fab triumvirate world. Charges of police misconduct have Within the gay community, a current political the 15 counts of First Degree Intentional comprised of Inhuman, Evil and Crazy ... placed Milwaukee in a meltdown mode. practice is "outing" — the public exposure of Homicide with which he was charged. He Dramatically splitting the city along racial closet homosexuals. Presently, the practice will have, on September 10th, entered either Every day I watch, read and listen, following and sexual lines, Dahmer's actions have is restricted to the outing of public officials a plea of Not Guilty, Not Guilty By Reason of the story of Jeff Dahmer. I'm struck again brought historical tensions in the city to a and media stars. In light of Dahmer's life Temporary Insanity or Guilty. No matter and again by the ease with which those climax. Everyone is mad and rightly so. But style, it is imperative that the gay community which of these he may have pleaded, I three words are used. Taken literally, it seems what happens as a result of this madness review its outing policy and seriously con suspect that many of the people in Milwau to me that the implications of such words are will be as historically significant as the crimes sider the personal outing of all closet cases kee will feel that he pleaded incorrectly. We far more frightening than the man whose of Dahmer. within the community. The protection of say that Jeff Dahmer murdered 17 young actions prompted their use. Can we ever, known closet cases only serves to degrade men; he agreed with us months ago. That he really, call a man Inhuman? Is there a I Told You So! and abuse those who have struggled to lead is guilty of committing the physical acts isn't meaning inherent in that word beyond that Dahmer's grisly deeds have graphically open lifestyles. If the community is militant at issue. Since his arrest, we've insisted that created by the majority which says he is manifested Michael McGee's long-standing about this, closetcases like Dahmer wouldn't Jeff Dahmer is crazy, that he must have inhuman because we could never do that accusation "something is brewing in Milwau be welcome in the community and be able to been to do what he did, but if it turned out that andwe are humans? We say a man is evil kee, and it isn't beer." The truth of McGee's prey upon it and abuse the hard-won ad he agreed with us and pleaded Temporary and thereby lend him mythic powers, credit homily has never been acknowledged by vancements gays have achieved. Insanity, many of us will say he's trying to him with somehow having access to, or Milwaukee's ruling hierarchy and local main duck responsibility for having taken all those being, the incarnation of something which, stream media. This collective denial mirrors Tie Me Up? lives. And if Jeff Dahmer entered a plea of as a wholly separate life form, most of us the reaction by public officials and tourism Long after Dahmer has been convicted, the Guilty, then our desire for retribution, an have never directly encountered. The con representatives who assert that Dahmer tensions in Milwaukee will undoubtedly swered too quickly by the swift capitulation cept of Good and Evil is a device by which could have murdered anywhere, and his remain. With the world watching, Milwaukee of the enemy, will linger on, frustrated. man balances himself somewhere between crimes don't reflect the character of the city now has the opportunity to radically address his desires and his responsibilities. We travel and its citizens. Twelve-steppers know that the issues of racial and sexual inequalities It is the night of August 22 as I write. Today more or less in between, inclined at times to denial is the first reaction of any one in need with revolutionary solutions which could serve Jeff Dahmer appeared in court to waive his one side more than the other, by someone of help. It's time city leaders face the truth. as models for the transformation of society preliminary hearing. The recollection of his else's judgment, if not our own. When we While it is true that Dahmer could have done in America. Taking into account American's seemingly expressionless face is vivid in my say a man is evil, though, we mean some his slaughter anywhere, his activities here short attention span, a good model for re mind. It is a face that I, like everyone else, thing more; we mean he's Evil. Are we now aptly reflect a "virtue" andthe vices that have form is the recent downfall of the Soviet have contemplated again and again. Be and finally prepared to accept and respond long plagued the city. Serial killers, like system. For starters, Soviet citizens didn't cause his face appears calm, almost se to the presence of true evil in our world? And predators in nature, reflect their ecosystem. get wrapped up in ribbon madness — unlike rene, we say he is expressionless and we if a man is Crazy, what is he, really, other There is a regional dynamic to these human the blue-ribbon, black-ribbon, and proposed place meaning in that perception which will than something we don't understand? predators. And like it or not, Dahmer sadly lavender-ribbon panels that are investigat enable us to condemn him. Some of us say represents his adopted hometown. Aside ing the Dahmer situation. The Soviets met that only a monster could appear so un What does reality have to do with such from the nationally recognized racism asso the problem head on. Solutions must come moved. We say that only someone who is words? If we literally believe these words are ciated with the city — high minority unem in Milwaukee with no strings attached — no inhuman could be so impassive. With such accurate in describing Jeff Dahmer then ployment, hyper-segregated neighborhoods, matter how colorful they are. If we are to re unreal words we struggle to dismiss him, but shouldn't we be compelled to take unprece and historically insensitive police depart form society, we must cut the ties that bind we cannot quite manage it. We look, and dented action? Shouldn't we have killed ment— Dahmer also exemplifies both in his us. Call the investigative panels what they look again. In the end, we will remember the him, as I imagine we certainly would if we legal and illegal factory-work activities the are. We can't afford to polarize issues with face of Jeff Dahmer long after we have discovered something both inhuman and "good worker" ethic associated with the sterilized confrontation. forgotten the faces of the 17 young men he evil in our midst? In this instance, wouldn't marketing of the local labor force. Dahmer's murdered. We will remember, perhaps, be we be justified, wouldn't we be human? Of assembly-line killing and dismemberment of Make My Day cause his is the face of a killer, while the course, it's unthinkable, and there's where the victims reflects an Aryan nostalgia for The defeat of the Soviet coup demonstrated faces of those he killed are the faces of the the premise behind such words breaks down. the glory days of Milwaukee's and America's the forgotten 1960's ideal of people power. rest of us, people who could be killed, but When a man — any man — is defined in industrial-based economy — a time when In the Soviet Union people backed up their who take for granted that they could not kill. such larger than life terms, he can't possibly America worked. In light of Dahmer's worka beliefs with their lives, demanded democ Maybe instinctively our minds mark the be understood. holic psychosis, the stereotyping of the local racy, and defeated the ruling party and the memory of the face of the killer because we labor force as good workers should be re police to establish a future of greater self- think that somehow it must convey, some I want to ask Jeff Dahmer: What do you viewed. After all, the ultimate good worker is control and determination. Aside from the where in its shadows and lines, must reveal know that I don't know? What do you expe a mindless robot. Unfortunately, in Dahmer's Soviet Union, this people-power detemina- whatever it is he is that we are not. Long will rience that I don't experience? And I want to case, the robot was soulless. tion is being staged by the gay political- we gaze at that face in vain. We may as well know the answers to these two questions action groups ACT UP and Queer Nation. turn to the mirror and stare at our own. that I worked hard to construct. So I think Just Say No More! Both have successfully mastered civil dis about him, I think about his face, about the The selection of Dahmer's victims is a sad obedience and political zaps against gov The truth is that, but for his particular actions men he killed and how he must have pre commentary on the misguided anger of ernment agencies and private business to (and actions separate each of us from the sented himself to them, about how the city America's minority communities. Appar reform their policies and practices. Their rest at some crucial point in our lives), Jeff recoils in shock but still tells Dahmer jokes ently, Dahmer had difficulties with his sexual engery and tactics should serve as a model Dahmer can't really be made to stand apart and will forget before too long. I think of a orientation. Although it hasn't been estab for the organizing of Milwaukee's minority from the rest of us. Only his answer to the song called The Boy with the Thorn in his lished what his sexuality is, he undoubtedly communities into a united reform move question of why he did what he did — should Side. It was written by Steve Morrissey, is a some kind of closet case. Dahmer's ment. The Dahmer case has united he ever care to offer such an answer — will mordant and acerbic former lead singer of rage against his own gender reflects the Milwaukee's minorities into a unique coali enable us to seal him oft from the rest of us The Smiths. internalized rage that permeates America's tion that has the energy to command power. forever. That answer, whatever it may be, minority communities. Despite high violent It's imperative that this grass-roots anger not doesn't show in the shape or the look of his The boy with the thorn in his side, crime rates in these communities, the over digress into an impotent apathy. Milwaukee's face. It might be hinted at in the depth of his Behind the hatred there lies a murderous whelming majority of these crimes are minority groups should create a new political eyes, in his way of looking — at a past which desire committed by members of the community action group similiar in determination and means so much more than the future. He For love ... upon each other. The pain and anger of anger to ACT UP and Queer Nation. We does have the eyes of a man whose life will these communities—evolving from a lack of have the opportunity to be monumental. By be, for its remainder, lived in the aftermath of How can they look into my eyes, opportunities, societal apathy, lack of self forming a new rainbow coalition here, Mil the actions which at one time defined it. That And still they don't believe me? respect, and despair — is misdirected and waukee can demonstrate that cooperation much shows. That we can see. Everything How can they hear me say those words, politically non-constructive. This rage is not is vital for the transformation of society. If it else, whatever meanings we derive from the And still they don't believe me? directed upon those who control power. doesn't happen now, something will defi words "inhuman," "evil," "crazy," we put And if they don't believe me now, Instead the intra-community rage is con nitely happen with McGee's 1995 deadline. behind the eyes of the killer or layer over his Will they ever believe me? tained and only serves to increase pressure The time is now for Milwaukee's minority And if they don't believe me now, within these communities. Societal reform communities to stay united and defiant. It's How will they ever believe me? will not come until this rage is channeled into time to say "never again." Four years is too long to wait. 29 Moore grew up in the tavern busi Like Foster, Jackson prefers the cere- ness. Boobie's belonged to his fa bralness of jazz to disco music and Photos by Pat Robinson ther, initially. In 1977 the younger uses his club as a talent showcase. Moore (Everett) took it over. Today, Friday and Saturday nights he fea one of Moore's sons, Kim, works at tures a blues singer, Mary White, with By Frances Sherwood your significant other is a risky busi Boobie's tending bar, and it appears Melvin Richards banging out the back ness. Yet though he is always on the that Boobie's is gearing up for an ground on keyboard. This dynamic THE MAIN EVENT premises, you are not required to other generation of a roaring success. duo never fails to draw a sizeable 3418 N. Martin Luther King Drive play chess. Actually, everybody at crowd. Every other Monday, Jackson The Main Event wants to know you, THE JAZZ OASIS presents Big Band music for dancing Jimmie Mack, owner and manager of should you sit at the bar and declare 2379 N. Holton and on Tuesday, Chuck Hedges, a The Main Event nightclub, traces his yourself social. And you will be left musician of international reputation, ancestral origins to the Ethiopian to yourself by yourself if you so plays the sax. A group of Jews. Almost to prove that point, choose. youngsters in the public Mack pontificates like an Old Testa school system, Generations in ment prophet, and his club, on its Sunday and sometimes during the Jazz, practice at Eddie own little block of Martin Luther King week, live music is on the program. Jackson's as part of their music Drive, has the shape and bearings of Primarily, it is jazz—as in Real Jazz— experience. an ark plowing through choppy brain food music. The bartender, a waters. gracious and attentive young woman, This supper club, located in has been known to sing on occasion, the blue collar, white neigh too. borhood of Bay View, boasts two dining rooms (cloth ta- Mack does weddings (in case you Lee Foster, Jazz Oasis blecloths and napkins), and were wondering), at The Main Event, Several club owners in the area are the menu lists such delicacies as Hot not to mention sponsoring a little zealous in promoting and preserving Petite Crab, Spinach Salad, Jackson's league team. Not a disco or your our jazz heritage. Lee Foster of the Chicken and Fish Fry (but of course). neighborhood tavern, not a commu Jazz Oasis is one such owner. Foster In the back of the premises, there is a < nity center for basketball, The Main is himself a musician, playing drums large banquet room for weddings, Event could best be described as a and trumpet. His own group, The and enough space and shady trees "happening place" or an ark traveling Lee Foster Quartet, performs on Fri for a future bier garten. steadily into the night day, Saturday and Sunday. On Monday, there is an open jam with Jackson and his wife have decorated BOOBIE'S PLACE free chili at the Jazz Oasis. the club in accord with the age of the 502 W.Garfield building. There are Tiffany lamps, Foster opened his club seven years stained glass panels, oak and brass, Boobie, a.k.a. Everett Moore, is a ago mainly to have a place to play hanging plants. The feeling is homey. music and to invite other mu And Jackson is something of a father sicians to perform. Situated in figure to his patrons, believing, like Jimmie Mack, Main Event a quiet neighborhood, sub Jimmy Mack of The Main Event and dued in tone, this club caters Everett Moore of Boobie's, in being to the real jazz connoisseur there on duty in person each and ev "We sell more than alcohol here," and low key single and mar ery night. Mack asserts gruffly, meaning, no ried people of varying ages. doubt, that the The Main Event is a There are two bars, one circu ZARKO'S place for dreams, friendship, solace lar and one straight, many 4126 N. Teutonia Avenue and the metaphysics of one life to live small tables and chairs and a and as the world turns. One would dark, intimate atmosphere Zarko's is definitely The Place for the not be surprised to meet Aladdin and conducive to a romantic eve under 3 5 crowd. No bands, tiny dance his lamp at The Main Event, Nefertiti, ning out. floor, cover on Friday and Saturday Rosa Parks, Crispus Attucks, Santa night, the club is still packed. The Claus, a choir of angels and Jane EDDIE JACKSON'S PLACE group is upscale, yuppish and the Fonda. The guest list is long and 2400 S. Logan boogie is top forty. The decor is fash various. The ambiance is cool and ionable, standard ferns, candelabra, sophisticated. The age group is 35 Eddie Jackson of Eddie with an S-shaped bar, yet the overall plus. Jackson's is also a musician impression is somehow classy and turned club owner. Jackson, comfortable. Like The Main Event, There is a well-lighted parking lot a real fan of Milwaukee, points there is a private, well-lit parking lot and a televised buzzer system for The out that at the Blue Note, in and like Boobie's, there are lots of Main Event. One might be intimi pj'" New York, you are required Everett Moore, Boobie's windows. The owner's son, Dan dated by the private club atmosphere to pay for a sizable cover Zigich, tends bar and many photos in such an entrance might indicate, but barber by day and a club owner by charge plus a three drink the small lobby emphasize a family these precautions operate merely as night. Boobie's is a popular bar where minimum. "It's five dollars a shot interest in the business. a security measure. Like the Safe you might find the mayor or some there," he points out. We in Milwau House, people at the bar are treated other Big Wig sitting up at the bar kee have it lucky." JAMIE'S to a preview of the coming attrac shouting along side the best of them. 3945 N. 35th Street tions on the television screen. Then, of course, once inside, it's come on Tell me, Mayor Norquist. Ms. Tina Moore owns and runs in, don't be bashful. Jamie's. Upstairs there is a bar and Give the mayor a break, man. tables, a small area for the band. People dress to go to The Main Event Downstairs, in what appears to be a and the club is rather elegant with a On Garfield Avenue and fronted by ballroom, is a stage, another bar and long meandering bar, many small some pretty choice property, Boobie's tables. Jamie's is a multi-purpose, intimate tables, thick carpeting and is neon and glass and soul music and local cultural center. The walls of the red and black brocade-like wallpa ribs and well mixed drinks. It is a club are used as gallery space where per. The mirror behind the bar is place in which everybody has a ball, local artists hang their work. The stippled in gold. One wishes for a all ages, and while many people come stage is subcontracted out to theater cigarette holder. as couples, there is a fair mixture of groups for plays. Four different bands single people. However, there is play during the week, in addition to The patrons of the establishment all none of the sort of desperate vacuity having an outsider jam. And food, seem to know Jimmie Mack in more characteristic of a singles bar. Min with a specialty in Afro-American than a back slapping kind of way and gling at Boobie's seems friendly and cuisine, is served starting at 11:00 matching wits with Mack in front of communal, almost familial, not preda a.m. tory. Eddie Jackson 30 Art Muscle Arts Organizations: Now-October 7 Please add Art Muscle to Back To The Grind Group show; Ton/s Water St Gate, 127 N your mailing lists Water; info 355-0589 PO Box 93219 Now-October 11 Jody dePew McLeane & Gil Dellinger Milwaukee, Wl 53203 Katie Gingrass Gallery, 241 N Broadway; Attn: T Gantz 289-0855 414/672-8485 Now-October 11 Statement of Intent Deadlinefor Dec 1,1991 -Feb 1,1992 Christensen, Jung, Pudloski, Ricco; manipu issue is November 8 lated images of Marilyn Monroe; UWM: Union Art Gallery, 2200 E Kenwood; 229-6310 Unless otherwise stated, all phone numbers are area axle 414 Now-October 12 Paul Donhauser, paintings Peggy Thurston Farrell, paper constructions Linda Walsh, bronze furniture; Tory Folliard Gallery, 233 N Milwaukee; 273-7311 Continuing Learn the personal side of the civil rights Now-October 18 movement; America's Black Holocaust Mu Judith Wolfe, abstract paintings seum, 2621 W Atkinson; 372-0690 October 18-November 30 Artifacts from the Black & Sepik Rivers of New Now-September 19 Guinea; Posner Gallery, 207 N Milwaukee; Brett Angell, oils; Joel Jaecks, watercolors & 273-3097 Marcia McEacheron, bronze sculpture; Bradley Galleries, 2639 N Downer; 332-9500 Now-October 19 Paula Bunch, monotypes Now-September 21 Jesse Gregg, fused glass & furniture When Heart & Hand Are One Art Elements, 1400 W Mequon Rd; 241 -7040 Founder's Square Gallery Children's artwork; Milwaukee Institute of Art & Design, 342 N Water; 276-7889 Now-October 20 is proud to present National Invitational Drawing Exhibition Now-September 22 Mid-America Arts Alliance; West Bend Gal New Paintings and Drawings Historic Milwaukee & More lery of Fine Arts; 300 S 6th Ave; 334-9638 by Wisconsin's distinguished artist Wolfgang Klein, woodcuts; Boerner Botanical Gardens, 5879 S 92nd; 425-1130 Now-October 20 Frederick Frary Fursman: Now-September 22 A Rediscovered Impressionist Recent Acquisitions American impressionist & co-founder of Ox- 130 additions to the permanent collection; Bow; UWM: Vogel Hall Gallery; 229-5070 ROBERT BURKERT MAM: South Entrance Gallery; 271 -9508 Now-October 26 Now-September 22 Beyond The Foyer Join us in viewing this superb Raymond Gloeckler, wood engravings Furniture, screens & tapestries; Houberbocken, collection of Mr. Burkert's Mount Mary College: Marian Art Studio, 2900 Inc., 230 W Wells; 276-6002 N Menomonee River Pkwy; 256-1210 creative imagination. Now-October 26 Saturday, October 5, 2-5 p.m. Now-September 27 John Himmelfarb, paintings & prints Show continues until Nov. 3. Geoffrey Averkamp, photographs Anne Kingsbury, mixed media sculpture Silver Paper Gallery, 825 E Center; 264-5959 Pdtz Gallery, 1119 E Knapp; 223-4278 Now-September 27 Now-October 26 Ballet in Sabattier Mexican Textiles: Line and Color MAIN STREET, FISH CREEK, Wl 54212 (414) 868-2254, 9:30 TO 5 P.M. Jim Eukey, photographs; Cynthia Tilson Gal Walker's Point Center for the Arts, 911 W leries, 330 E Kilboum; 271-8644 National; 672-2787 Now-September 28 Now-October 30 A Place You've Never Been Before Nicholas Africano Rosalie Waranius, landscape watercolors Sculpture, paintings & collage; Michael Lord Alverno College, 3401 S 39th; 382-6149 Gallery, 420 E Wisconsin; 272-1007 "5 *••**$' Now-September 28 Now-October 31 Dana Kegley, photography 8Audrey Casey, Ethereal Images lithographs; Bank One Plaza Art Galleries, Marianne Huebner, paintings & drawings 111 E Wisconsin; 765-2566 Chip & P/s, 1340 W Towne Square Rd, Lunch -M-F-1130-230 Mequon; 241-9589 Now-September 29 Sat.-noon-3 Felix Closseau & Other Illustrations: Jon Agee Now-October 31 Now-October 20 Stephen Fischer, outdoor sculptures Sun. Brunch-11-4 Gary Noffke Retrospective, metahvork; Woodlot Gallery, 5215 Evergreen Dr, She Now-November 10 boygan; 458-4798 Dinner - nightly -5-11 Moving Light group show; installations use projection and Now-November 3 video; Kohler Arts Center, 608 New York Ave, Painters of a New Century: The Eight Sheboygan; 458-6144 Turn of the century American art; MAM: Jour- nal/Lubar Galleries; 271 -9508 LAS, Now-September 30 'NAGERE) Calendar Capers Now-November 17 Serigraphs by Bob Danner, text by Joan LoPresti 20th Century Masters of American Glass Hi for a children's calendar; The Piano Gallery, HaggertyMuseum,13th &dybourn; 288-7290 124 c^V Water Street (414)347-1962 219 N Milwaukee; 276-3525 Now-November 25 Now-September 30 The Faces of Labor Alicia Czechowski Photographs of laborers from Milwaukee Figurative works in oils & pastels; RiverEdge companies; Milwaukee County Historical Soci Galleries, 432 E Main, Mishicot; 755-4777 ety, 910 N ad World 3rd; 273-8288 Now-September 30 September 15-October 24 The Rock 'N Roll Show A Natural Pattern For Order We Sell Patriots. Fred Fischer & Deone Jahnke, photographs Eric John Wallner, photography; opening re Gallery 218, 218 S 2nd; 643-1732 ception Sept 22 1:30-3:30pm; Charles Allis Art Museum, 1801 N Prospect; 278-8295 Now-September 30 And Minutemen, but that's A Look Inside September 17-October 13 another story. The Patriot is a high Recovering artists' paintings, drawings & 3 di Lynn B Moldenda, watercolors & etchings quality American-made drawing/ mensional works; Fireslation Gallery, 5174 N Painted Lady Restaurant, 518 Main, Newburg; drafting table. It has a European- Hopkins; 462-5509 675-2341 styled tubular steel frame, white Melamine top, and adjustable height Now-October 1 September 18-October 5 Robert Danner, serigraphs & stained glass; & tilt. Wisconsin Regional Art Program Exhibit Founder's Square Gallery, Main Street, Fish Appleton Gallery of Arts,! 30 N Morrison, It's also on special for $195.00. Creek; 968-2254 Appleton; 733-4089 (reg. $245.00) Top size: 30" x 42". Now-October 6 September 19-December 29 See you at the Palette Shop Sculptors on Paper Five Centuries of Italian Painting: 1300-1800 ARTOBERFEST Show...Oct. 11 & Arneson, Benglis & others; drawings & photo Opening reception Sept 19 7-9pm; Haggerty 12, 1325 E. Capitol Drive. graphs; reception Oct 6 6-8pm; UWM: Art Museum 13th & Ch/boum; 288-7290 PALETTE History Gallery, 3203 N Downer; 229-4454 September 20-November 9 342 N. Water St. Milwaukee, Wl 53202 414-272-3780 Now-October 6 A System of Sculpture 19th annual art faculty exhibition 1325 E. Capitol Dr. Shorewood, Wl 53211 414-963-1346 UW sculpture faculty; opening reception Sept UW-Green Bay: Lawton Gallery, 2420 Nico- 20 6-9pm; UWM: Fine Arts Gallery, 2400 E let, Green Bay; 465-2271 Kenwood; 229-4454 31 September 20-December 29 October 18-November 17 azj- Eric Fischl Colored Threads 25 drawings & watercolors; MAM: Teweles Featherwork & stitchery; Katie Gingrass Gal Gallery; 271-9508 lery, 241 N Broadway; 289-0855 September 21 -October 26 October 18-November 23 Tim Senn Bruce Houston, wood & metal constructions Functional pottery; opening reception Sept 21 - John Colt, paintings & pastels 22 11 -5pm; Mamie Pottery, 2711 N Bremen; Opening reception Oct 18 6-9pm; Tory Fol- iea 374-POTS liard Gallery, 233 N Milwaukee; 273-7311 i>~ September 22-October 17 October 18-December 1 Susan Baehmann, pastels & monoprints A Medley of Images: Art in the Age of Mozart Chris Baugniet, clay Opening reception Oct 18 5-7pm; UWM: Art Opening reception Sept 22 2-5pm; Bradley History Gallery, 3203 N Downer; 229-4454 Galleries, 2639 N Downer; 332-9500 October 20-November 15 September 22-October 20 Emigre Art: Railroading Expressions of Russian Jewish Artists Opening reception Sept 22 1:30-3:30pm; St Opening reception Oct 20 1-4pm; Jewish John's Uihlein Peters Gallery, 1840 N Pros Community Center, 6255 N Santa Monica; pect; 291-4993 964-4440 September 24-October 27 October 20-November 21 Portraits of Nature Arthur Thrall, prints & paintings 0(I.S-t>.m\ MILWAUKEE, WIS Steve Adamczyk, photographs Greg Miller, pottery; opening reception Oct 20 Opening reception Sept 25 9:30-11:30pm; 1 -4:30pm; Bradley Galleries, 2639 N Downer; SATURDAY & SUNDAY OCTOBER 5TH & 6TH FROM 11 AM TO 6 PM Boerner Botanical Gardens, 5879 S 92nd 332-9500 FOR MORE DETAILS CALL: 374 - 4722 RIVERWEST ARTIST ASSOCIATION September 27-October 27 October 23-December 1 Christopher Davis-Benavides, sculpture; Traditional Chinese Painting Opening reception Sept 27 6-8pm; Lawrence Wang Lan Ruo; West Bend Gallery of Fine University: Wristen Art Center, Appleton; 832- Arts, 300 S 6th Ave; 334-9638 THE BEAUTY THE BEAST 6585 October 25-November 23 September 27-October 25 Michael Bokrosh, glass Denis Sargent Nancy Marks, watercolors Opening reception Sept 27 7pm; La Galleria Opening reception Oct 25 4-8pm; Art Ele Del Conte, 777 N Jefferson; 276-7545 ments,! 400 W Mequon Rd; 241 -7040 Also September 27-December 8 October 26-November 20 30s America: Prints from the Permanent Col Beautiful Women offering lection; MAM: Segel Gallery; 271 -9508 Brozek, Ford, Jones, Shimon, & Lindemann fine 40 black & white photographs; opening recep September 28 tion Oct 26 7-10pm; Metropolitan Gallery, paintings Privileged Access 900 S 5th; 672-4007 Juried show; Wisconsin artists; opening recep photographs tion Sept 27 5-7:30 pm; MAM: Cudahy Gal October 27-November 17 lery; 271-9508 Found Art & unique Willis Guthrie puts it all together; opening September 29-December 22 reception Oct 27 1 -3:30pm; St John's Uihlein jewelry The Discerning Eye, mixed media crafts; also Peters Gallery,l 840 N Prospect; 272-2618 Watercolor Wisconsin; Wustum Museum, 2519 Northwestern, Racine; 636-9177 October 29-January 2 LEEFER GALLERY Wisconsin Foliage 817 S. 5th Street, Milwaukee, Wl 53204 • 414-645-4487 September 30-November 17 Mimi Ruff, watercolors & pastels OPEN Wed.-Fri. 5:30p.m.-8:30p.m., Sat. 11 ajn. - 6 p.m. Guest Art Exhibit Boerner Botanical Gardens, 5879 S 92nd; or by appointment Wisconsin Painters & Sculptors; opening re 425-1130 ception Oct 11 7-9pm; Carroll College: Cam pus Center Gallery, 100 N East Ave, Wauke November 1-22 sha; 524-7236 The Bare Walls III Carl Von Man-, drawings and paintings September 30-Continuing DeLind Fine Art, 801 N Jefferson; 271 -8525 Temples, Tells & Tombs Cultures of the near east; Milwaukee Public November 1-December 13 Museum, 800 W Wells; 278-2702 The Tactile Vessel: New Basket Forms Works in leather, ribbon & waxed linen October 4-November 30 West Bend Gallery of Fine Arts, 300 S 6th Ave; Back to Venus 334-9638 Jim Chism, soft sculpture Opening reception Oct 4 7-10pm; Gallery November 3-December 15 218, 218 S 2nd; 643-1732 Philip Krejcarek, photography Mount Mary College: Marian Art Studio, 2900 October 5-November 3 N Menomonee River Pkwy; 256-1210 Robert Burkert, paintings Opening reception Oct 5 3-5pm; Founder's November 3-December 30 Square Gallery, Fish Creek; 868-2254 Warrington Colescott, watercolors & etchings Frances Myers, painted constructions & prints October 8-November 4 Opening reception Nov 3 3-5pm; Peltz Gal Abstractions lery, 1119 E Knapp; 223-4278 Judith Hooks, Larry Chatman, Ceci Murphy & others; opening receptionOctl 31 -4pm;Tony's November 3-January 13 Water St Cafe, 127 N Water; 355-0589 Women Woven in Watercolor Sister Doris Klein CSA October 9-November 6 Opening reception Nov 3 1 -4pm; Piano Gal The Lawrence Connection; Gallery I &II; lery, 219 N Milwaukee; 276-3525 Judith Weinfurter, hand-colored photographs; Gallery III; Appleton Gallery of Arts, 130 N November 6-December 1 Morrison, Appleton; 733-4089 I Think, Therefore I Am Chris Walker, William Kieffer, Helen Kle- October 10-November 10 besadel, & others; Tony's Water St Cafe, 127 Michael N'rtsch, prints N Water; 355-0589 Carroll College: Otteson Theatre, 100 N East Ave, Waukesha; 524-7236 November 8-December 8 Introspections: Raphael Soyer Nice thick T-shirts, black or white, October 11-25 Opening reception Nov 8 5:30-7:30pm; Wisconsin Art Education Association Lawrence University: Wriston Art Center, imprinted with designs from Juried show; Mount Mary College: Marian Art Appleton; 832-6585 Studio, 2900 N Menomonee River; 256-1210 the art of M.C. Escher November 8-December 8 October 13-November 13 Judith Hooks, paintings, Judith Ann Moriarty, Rescuers Of The Holocaust paintings & Phillip Johnston, clay; opening re Gay Block, portraits; ception Nov 8 7-10pm; Gallery 218, 218 S Opening reception Oct 14 8:30-10pm; 2nd; 643-1732 November 20-December 20 What Is Not Forbidden Is Allowed: November 8-December 20 Contemporary Soviet art; opening reception Personal Intensity: Nov 20 5-7pm; UW-Green Bay: Theatre Hall; Artists in Spite of the Mainstream 2420 Nicolet Dr, Green Bay; 465-2271 Opening reception Nov 8 5-7pm; UWM: Art Museum, 3253 N Downer; 229-4454 October 15-November 10 The Old Farm November 13-December 11 Mary K Shisler, cyanotypes; reception Oct 20; Adam Jahiel, photography The Grand Avenue Bay Shore Mai Acacia Theatre, 3300 N Sherman; 355-0589 Carroll College: Otteson Theatre, 100 North 271-2327 332-3434 East Ave, Waukesha; 524-7236 32 Art Muscle November 14-28 Painted Surfaces: GWENBURDICK Furniture & Decorative Objects Recent Works -- Drawings & Paintings Get Loose MAM: Journal/Lubar Galleries; 271-9508 With Our September 21 Opening: Sept. 1 9, 4 to 7 p.m. November 14-December 22 An Afternoon with Doris White Exhibition: Sept. 29 through Oct. 27 VILLAGE Wise Children's Book Illustrators & Writers Painting demonstration; 1 -4pm; Blue Dolphin Burkert, Ehlert, Henkes, & Poehlmann House & Gallery; 10320 N Water, Ephraim; . BEAT Opening reception Nov 17; Wustum Museum, 854-4113 JEANINE SEMON 7} DANCE 2519 Northwestern Ave, Racine; 636-9177 September 21-22 Recent Works CLASS November 16-January 19 Milwaukee Fall Art Festival MYSTIC IMAGES - Pastels & Acrylics . Rhythms and Mastery of Materials: 75th Anniversary of 150 artists; Sa 10-7pm Su 11 -6pm; $3, kids \ movement from Opening: Nov. 17, 4 to 7 p.m. Wisconsin Designer Crafts Council; MAM: under 10 free; Mecca Great Hall, 500 W Brazil, Latin Cudahy Gallery of Wisconsin Art; 271 -9508 Kilbourn Exhibition: Nov. 17 through Dec. 15 America, Africa November 22-January 5 September 21-22 & October 26-27 and Spain. Daily dynamic Holiday Signatures Craft Fair USA HOLIDAY HAPPENINGS Mixed media artists; Katie Gingrass Gallery, 400 artists exhibit indoors; 10-5pm; State Fair Stretch/Movement 241 N Broadway; 289-0855 Park; 321-2100 THE FINE ART OF GIFTING Glasses and Nov. 24 through Jan. 5 Hatha Yoga. November 22-January 19 September 22 New students Jackie Winsor Mile of Art ^ 20% off any Post-Minimalist sculptures; MAM: Journal/ Featuring 120 artists; 10-5pm; Cardinal Strilch THE GALLERY, LTD. Lubar Galleries; 271 -9508 College, 6801 N Yates; 352-5400 " package with in the CAFE KNICKERBOCKER this ad. November 24-December 1 September 27 1030 East Juneau Avenue Don Bratcher, sculptures & Thomas Selle, paint International Festival Stretch/Movement Studio Milwaukee, Wl 53202 ings; Carroll College: Campus Center Gal Ethnic music, art, crafts, food & neighborhood 2625 N. Downer Ave. 332-7160 lery,! 00 N East Ave,Waukesha; 524-7236 tours;! 0-7pm; 27th between Wisconsin & State; West End Community Assoc; 933-2080 November 24-December 15 Masters Thesis Exhibition September 27 Opening reception Nov 24 l-4pm; UWM: Senior Day Fine Arts Gallery, 2400 E Kenwood; 229- Tours & complimentary refreshments for senior 4454 citizens; 2-4pm; free; MAM; 271-9508 Katy's =Q November 24-January 5 September 28 Christmas Snow Golden Days Harvest Festival AMERICAN INDIAN ARJS A UNIQUE Charles Wysocki, primitives; St John's Uihlein 25 craftspersons featuring folk art; ! 0-5pm; STORE Peters Gallery,! 840 N Prospect; 272-2618 Courthouse lawn, corner of Mill & Hill, Green WHERE Lake; 294-6338 November 24-December 24 POTTERY, Noel Spongier, mixed media September 28 BASKETS Opening reception 1 -4:30 pm; Bradley Gal Wehr Wildlife Art Festival WEAVING & leries, 2639 N Downer; 332-9500 Ross Lodge grounds, 6750 S 92nd; 425-8550 JEWELRY ARE November 26-December 31 September 29 HANDMADE BY Gallery artists: 8th Annual Mushroom Fair AMERICAN Jones, DeLind, Rossi, Treutfaar, Pearson Fungal Folklore: Fact or Fiction?; Milwaukee DeLind Fine Art, 801 N Jefferson; 271 -8525 Public Museum, 800 W Wells; 287-2711 INDIAN ARTISTS November 29-December 31 October 4 David Goldhagen, glass Cedarburg Gallery Walk Opening reception Nov 29 4-8pm; Art Ele 12 galleries in landmark structures; 6-10pm; ments, 1400 W Mequon Rd, 241 -7040 maps at Cedarburg Cultural Center, W 62 (608] 251-5451 N546 Washington Ave, Cedarburg; 375-3676 1803 MONROE ST. MADISON, Wl 53711 October 5 High Wind Houses: September 19-22 A Day With Designers & Builders A Midsummer Night's Dream $35; High Wind Association, W 7! 36 High Milwaukee Ballet way U, Plymouth; 528-7212 NION ALLERY Th 7:30pm, F,Sa 8:00pm, Su 1:30 & 7:00; $8-46; PAC: Uihlein Hall; 273-7206 October 5 & 6 7th Annual Riverwest Artists Walking Tour UWM Union Art Gallery First Floor September 20 Walk through artists' studios; 11 am-opm; $2- Urban Bush Women: Praise House $3; 374-4722 or 462-0777 2200 E. Kenwood Blvd Milwaukee African dance troupe; 8pm; $15-$22; Pabst FALL SCHEDULE Theater, 144 E Wells; 229-4308 October 12 229-6310 Fall Art With Flair September 6 - October 11,1991 September 27 72 craftspersons;! 0-5pm; Clark Park, Fish Feld Ballets/NY Creek; 7! 5/568-3030 "Statement of Intent" World premiere commissioned by Wisconsin An exhibit showcasing the talents of four Presenters Network; 8pm; $10-22; Alverno October 18 outstanding UWM senior art students. College, 3401 S 39th; 382-6166 Gallery Night Start at MAM with a 5:30pm mini-lecture; September 28 walk, drive or ride the Gallery Night Express to October 14-18. 1991 Feld Ballets/NY East Town, The 3rd Ward & Historic Walker's "State of Sculpture" (Different program than Sept 27); 8pm; $15- Point; info 271-9508 -' A juried exhibit of student sculpture from $22; Pabst Theater, 144 E Wells; 229-4308 the UW system. October 19-20, 23-25, 27,30-31 October 3,10,17 & 24 Halloween Hauntings Dancecircus History of Halloween traditions; Milwaukee December 2 - 20, 1991 Old & new works about recycling; 7pm; $3; Public Museum, 800 W Wells; 278-2713 The Final Space" 404 S 7th; 272-MOVE An exhibition of work by the last graduating October 31 class of the UWM interior design program. October 24-27 Halloween Party Milwaukee Ballet Costume-dance themed around Painters of a Mixed repertoire with All-American theme; Th New Century: The Eight; 8pm; MAM: Vogel/ 7:30pm F,Sa 8pm Su 1:30 & 7pm; $8-$46; Helfaer Galleries; info 271 -9508 PAC: Uihlein Hall; 273-7206 November 2-3 October 26 Artwear '91 Impossible Thoughts 40 exhibitors; Sa !0-5pm Su 12-5pm; Elm Wild Space Dance Company Grove Women's Club,! 3885 Wateriown Plank 8pm; $6-$8; Lincoln Center for the Arts, 820 E Rd; 786-9765 Knapp; 271-0307 November 15-17 November 1-2 Print Show & Sale Carbone 14: The Dormitory Bonnard, Buhot, Belleroche, Bell, & others; Blend of theater & dance expresses youth of the Peltz Gallery,!! 19 E Knapp; 223-4278 60s & 70s; 8:00pm; $10-$22; Alverno Col lege, 3401 S 39th; 382-6166 November 29-December 1 Holiday Craft & Gift Show November 22 600 exhibitors: F Sa 9-9pm Su 10-5pm; State Festival of Indonesia Fair Park; 32 i-2100 Dance of Batak people; $15-$22; Pabst Thea ter, 144 E Wells; 229-4308 November 30-December 1 SALE Wisconsin Arts & Crafts Show PAINT • BRUSHES • AIRBRUSHES - SKETCHBOOKS - PORTFOLIOS • CANVAS November 22 36 exhibitors;! 1 -5pm; War Memorial, 750 N MARKERS • TECHNICAL PENS - COMPASS - TRIANGLES - RULERS • EASELS Ko-Thi Dance Company Lincoln Memorial Dr; 675-2480 COLORED PENCILS • NEWSPRINT - DRAWING TABLES -AND MORE 7:30pm; UW-Wasnington County: University THRU OCT 12 Theatre, 400 University, West Bend; reserva tions 335-5208 ARTiSTANDDISPLAY 9015 WEST BURLEIGH 442-9100 MWF 9-6 • TUE & THUR 9-8 PM • SAT 9-5 • SUN 12 TO 4 October 6-November 3 film Family Sundays: Art projects for kids & parents Oct 6 - Sunday in the Park Oct! 2 - Urban Diversions Tuesdays & Wednesdays Nov 3 - Under the Bigtop Weekly Showings Oct 20 - Haunting Halloween Happenings T5:30-7:30pm, W11:30am-l :30pm & 5:30- l-4pm; come early for registration; MAM; 7:30pm; UWM: Mitchell, B-91; 229-6015 271-9508 September 16-November 5 October 6-11 Sept 17-Wallz Time (1939) Painting Workshop Odl -This Above All (1942) State painters share ideas & nurture talent at Friday and Saturday Oct 8 - The Slipper & The Rose (1976) Green Lake; UWM Outreach; info 229-4177 Oct 15 - Queen Christina (1933) Dan Dance and Oct 22 - Pride & Prejudice (1940) October 8 & 22 George Wellen Oct 29 - I'll Be Seeing You (1944) Painters of a New Century: The Eight 7:30 p.m. to 11:30 p.m. Nov 5 - Highlights of Deanna Durbin Russell Bowman; gallery talk; 1:30pm; MAM: 12:30pm $1; $2 Parking rebate coupons for Journal/Lubar Galleries; 271 -9508 PAC parking available at film screening; PAC: Vogel Hall; 273-7121 October 10 Tim Rollins 1340 W. Towne Sq. Rd. September 19-November 24 Artist who works with disadvantaged youth Mequon Foreign Film Series will discuss his art; 6:15; MAM: Vogel/Helfaer Sept 19-22 May Fools (France 1990) Galleries; 271-9508 241-9589 Sept 26-29 Little Vera (USSR 1988) Serving lunch Mon-Sat, Oct 10-13 How Tasty Was My Little French October 12 &13,19 & 20, 26 & 27 man (Brazil 1971) Painters of a New Century: The Eight dinner Tues-Sun Oct 24-27 The Reincarnation of Golden Lotus Free tours of exhibition; F,Su 2pm Sa 11 am; (Hong Kong 1989) MAM: Journal/Lubar Galleries; 271 -9508 Oct 31 -Nov 2, 3 La Dolce Vita (Italy 1959) Nov 7-10 Dreams (Japan 1990) October 12 & 26 Nov 21 -24 The Nasty Girl (Germany 1990) Making Moving Pictures Workshop T 7:30 Sa 8pm Su 2pm; $19/$l 7 series only; Learn how to make optical toys; Milwaukee UW-Parkside; info 553-2404 Public Museum, 800 W Wells; 278-2713 September 21- November 3 October 15 Reel Art Film Series Privileged Access Sept 21 -22 - Ragtime Janet Treacy gallery talk; MAM: Cudahy Gal Oct 5-6 - The Musketeers of Pig Alley, Making lery; 271-9508 a Living, Bemice Bobs her Hair Oct 19-20 - Bobby, The Coward, Hester Street October 25 Nov 2-3 - Hippodrome Races, Dreamland, The Power of Romantic Passion Coney Island, The New York Hat, Caught in a Ethel S Person, MD; 6:30 & 8pm; MAM: Cabaret, The Masquerader & The Surf Girl; S Vogel/Helfaer Galleries; 271-9508 & Su 2pm; free w/MAM admission; MAM: Multi-media Theater; 271-9508 October 31-November 21 John Himmelfarb: Paintings & Prints The Power of Myth Anne Kingsbury: Mixed Media Sculpture September 28 & October 12 Topics on storytellers, heros, goddesses & Films Kids Like others; Th 1 -3pm; Mount Mary College, 2900 September 8th - October 26th Sept 28 - Peter Pan N Menomonee River Pkwy; 258-4180 Oct 12 - Pollyanna 10:30am & 1:00pm; free with MAM admis November 1 Opening November 3rd , 3:00 -5:30p.m. sion; MAM: Multi-media Theatre; 271 -9508 Chinese Scholars & The Arts Warrington Colescott & Frances Myers Henry Moy, Dir, BeloitCollege museums; 2pm; October 26-27 West Bend Gallery, 300 S 6th Ave; 334-9638 Cartoon Film Festival Warner Bros dassic cartoons & those seldom November 14-17 PELTZ GALLERY 1119 E. Knapp. St. 223-4278 seen; Milwaukee Public Museum: Nickelodeon Joy of Music Making-A Vision for General Open for Gallery Night, October 18th Theater, 800 W Wells; 278-2702 Music in the 21 st Century Wyndam Hotel,l 39 E Kilbourn; 229-4622 November 16 Milwaukee Conference on Nonviolence September 17 Daniel Berrigan, SJ ITIRT Claire Louise Joyes lectures on Claude Monet; Choose from 13 workshops on nonviolence; 2pm; Cudworth Post, 1756 N Prospect; 291- 8:30am-5pm; $5-$l 0; pre-register by Nov 6; 4991 Marquette University; 964-9077 or 321 -1988 MILWAUKEE REPERTORY September 19 November 20 Five Centuries of Italian Painting: 1300-1800 Institute of Chamber Music THEATER Lawrence Kanter lecture; 6pm; Marquette Uni Masterclass with Ursula Oppens, pianist; 1:30- versity: Straz Hall, 13th & Clybourn; 288- 3:30pm; free; UWM: Recital Hall; 229-4308 7446 September 24 I i t Currents 19: Eric Fischl Drawings Dean Sobel gallery talk; 1:30pm; MAM: Tew- Mondays eles Gallery; 271-9508 Poet's Monday Sept 30 - Debra Kay Vest, poetry with music by Federico Garcia Lorca September 26 Open mike & featured acts; 8:30pm; Cafe October 27 - December 1 American Impressionism: Melange, 720 Old World Third; 291 -9889 Paving the way for the AshCan School Barbara Weinberg, curator of American Paint Tuesdays ing, Metropolitan Museum of Art; 6:15pm; Milwaukee Poetry Slam War Memorial Center; 271 -9508 8pm; Y Not II, 706 E Lyon; 347-9972 OUR TOWN CALL September 27 September 23-October 28 by Thornton Wilder Institute of Chamber Music Irish Folktale Workshop 2 24-9490 Master dass with violinist Ruben Gonzalez; John Gleeson, instructor September 8 - October 20 2:30pm; free; UWM: Recital Hall; 229-4308 M 6:30-8:30pm $52; UWM: Merrill Hall rm 211,229-4177 October 2 Georgia O'Keeffe September 24-November 19 Docent Gallery Talk; 1:30pm; MAM; In the Indian Tradition: Wisconsin Storytellers 271-9508 Tales of Ojibwe, Menominee & Winnebago tribes; Tu 6:30-8:30pm $75; UWM Physics Sainaragfisffl Bldg, rm 147; 229-4453 October 3 The Importance of New York Landmarks at the September 26 ^|jpfR%ifiliTiTTil^^ Turn of the Century & Today Book signing with author of For Black Women Jimmy Breslin; 6:15pm; War Memorial Cen Only: A Complete Guide to a Successful Life- ter: Memorial Hall; 271-9508 Style Change, Health, Wealth, Love & Happi ness, Dr Ingrid D Hicks; 5:30-7:30pm; Wright W-^MW^fy^^^^^^ October 5 Street Gallery, 335 E Wright; 265-7213 Artists in the City Symposium Discussion of urban issues; 11 am; free w/ October 12 admission; MAM: Vogel/ Helfaer Galleries; Reading Latin America 271-9508 Latin America in children's & young adult literature; 9-4pm; advance registration; United October 5 Community Center,! 028 S 9th; 229-5986 Towering Over Milwaukee The development of American clock towers; October 16 sponsored by Milwaukee County Historical The Influence of Women Writers, Artists & DHL 9Sl^jiui|iinnf4piin,ipi!ij Society; 10:15am free; Marshall Fields down Humanists on Modern Soviet & American town; info 273-8288 Societies; 7:30pm; UW Center-Washington County: Rm 259, 400 University, West Bend; 335-5208 34 Art Muscle October 13 Milwaukee Civic Symphony Orchestra Monte Perkins, Conductor A dedication to birds; 3pm; $7.50; Pabst September 22 Theater,l 44 W Wells; 278-3663 Fine Arts Quartet Beethoven, Turina, Tchaikovsky; 3pm; $12; October 16 UWM: Recital Hall; 229-4308 UWM Wind Ensemble & Symphony Band Decjsjons, 12:30pm; free; UWM: Union Concourse September 22 Mozartean Players October 17,19-20 Steven Lubin, fortepiano, Stanley Ritchie, violin Milwaukee Symphony Orchestra Myron Lutzke, cello; 8pm; $15; UWM: Fine Zdenek Macal, Conductor Arts Recital Hall; 258-6133 Nadja Salerno-Sonnenburg, Violinist Th 1 lam, Sa 8pm, Su 7:30; $12-$36; PAC: Decisjons, September 24 Uihlein Hall; 273-7206 Sylvan Winds 10th Anniversary Martin Woltman, French horn October 18-19 7:30pm; $6-$9; St Paul's Episcopal Church, Requiem & Gloria 914 E Knapp; 276-5838 Bel Canto Chorus & Chamber Orchestra Richard Hynson, Conductor; Elizabeth Bar- September 26-28 nabe, soprano; Jon Fredric West, tenor;8pm ; Decisions. Milwaukee Symphony Orchestra $8-$21; Pabst Theater, 144 E Wells; 278- Zdenek Macal, Conductor 3663 Young Uck Kim, Violinist; Tchaikovsky, Schuller, ITALIAN FEST BUFFET Beethoven; Th 7:30pm, F 7pm, Sa 8pm; October 19 WEDNESDAY Named "Meal of the Month" by $12.50-S42.50; PAC: Uihlein Hall; 273-7206 Greater Milwaukee Youth Wind Ensembles Milwaukee Magazine, Award-winning antipasto bar. C&95 8pm; $3-$6; PAC: Vogel Hall; 229-4308 Classic Italian entrees, and an Italian dessert table. All ^r September 27 you can eat. The Shantymen Male Chorus October 20 Songs of the sea; 8pm; $3-$6; UWM: Recital UWM Wind Ensemble 8t Symphony Band Hall; 229-4308 Copland, Dahl, Holsinger; 7:30pm; $3-$6; OLD FASHIONED FISH FRY PAC: Vogel Hall; 229-4308 FRIDAY All the breaded, beer battered or baked fish *5 September 29 you care to eat. Plus, Chef's homemade potato pancakes. * Ensemble Project Ars Nova October 22 Early Music Now; medieval music; 8pm; $12- Madalyn Rodney, piano $14; Centennial Hall, 733 N 8th; 271 -3335 12:15pm; UW-Washington County: Univer PRIME RIB BUFFET "TT sity Theatre, 400 University, West Bend; 335- SATURDAY All the hand-carved prime rib and BBQ 2 September 29 5208 ribs you can eat. Plus, a Chef's choice carve of the day. Piano Chamber Music Series Judith James, pianist, Wolfgang Laufer, cellist October 23 Ruben Gonzalez, iolinist; works of Schubert; UWM University Band BRUNCH BUFFET 3pm; $10; UWM. Recital Hall; 229-4308 12:30pm; free; UWM: Union Concourse SUNDAY Gourmet entrees. Made-to-order omelettes, '95 Dessert included. Kids under 10, only $4.95. Octobers October 25 Albert McNeil Jubilee Singers Richard Stoltzman, darinet Prices include on all-you-con eat salad bar. African-American music; 7:30pm; $12-$15; Irma Vallecillo, piano For reservations phone 257-3400 PAC: Vogel Hall; 276-8788 Nancy Allen, harp 8pm; $10-$ 15; Lawrence University Chapel, October 4 Appleton; 832-6585 First Friday In conj w/Painters of a New Century, pianist October 25-27,30 & November 1-3 Jeffrey Hollander plays & discusses music of The Barber of Seville Jellyroll Morton & Scott Joplin; 5:30-8pm; $3- Florentine Opera $4; MAM: Vogel/Helfaer Galleries; 271 -9508 W 7:30 F,Sa 8pm Su 2:30pm; $8-$74; Pabst Highway 100 & North Avenue at the Sheraton Mayfair. Theater,! 44 E Wells; 278-3663 ALSO Stop in at Brandy's Lounge for Thursday Jazz Night featuring Berkeley Fudge. October 4 Friday, Saturday - Live DJ featuring Surround Sounds Music. Albert McNeil & Jubilee Singers October 26-27 8pm; $9-$l 1; Lawrence University: Lawrence Tuyo Chapel; Appleton; 832-658 MicrotonaJ 8t new music; 8pm; $10-$22; Alverno College, 3401 S 39th; 382-6166 October 4-6 Canadian Brass October 27 Pops Concert; F, Sa 8pm, Su 7:30pm; $13.50- University Band & Jazz Ensemble $45; PAC: Uihlein Hall; 273-7206 7:30pm; $3-$6; UWM: Union Wisconsin Room; 229-4308 October 7 Milwaukee Chamber Orchestra October 28, November 11 & 25 The Glory of Shubert Pillow Pops Wisconsin Conservatory Chamber Singers & Music Under the Stars Orchestra Vocal Soloists; 7:30pm; $15; PAC: Vogel Hall; 7pm; free; PAC: Bradley Pavilion; 278-4389 273-7206 October 31 October 8 Serioso String Quartet King's Singers 8pm; $2-$4; UWM: Recital Hall; 229-4308 Six male vocalists; 8pm; $15-$30; Pabst Thea ter, 144 E Wells; 226-8777 October 31-November 1 & 2 Milwaukee Symphony Orchestra 1991-92 Season Take 6 October 9 An Evening with Marvin Hamlisch September 5 Vocal Arts Concert Neal Gittleman, Conductor Juliana Gondek, soprano; Jeffry Peterson, Th 2pm, F, Sa 8pm, Su 7:30pm; $12-$45; MASS APPEAL Urban Bush Women piano; songs of Polish & American composers; PAC: Uihlein Hall; 273-7206 September 18-28 September 20 8pm; $3-$6; UWM: Recital Hall; 229-4308 THE GRAPES OF WRATH November 1-3 Feld Ballets/NY October 9 Stringalong Weekend October 9-19 September 28 Keyboard Conversations with Jeffrey Siegel UWM Folk Center CHEKHOV REPERTORY Schubert; 7:30pm; $15; PAC: Vogel Hall; Musical vacation weekend in East Troy; info October 29-November 17 Steve Retch 229-4622 273-7206 THE THREE MUSKETEERS October 11 October 10 November 2 December 11-21 Chick Corea UWM Symphony Orchestra Chamber Music Marathon WOMAN IN MIND November 8 12:30pm; free; UWM: Union Concourse UWM Synphony Orchestra Benefitfor Orchestra Performance Fund; 11 am- January 29-February 9 Festival of Indonesia October 10 ! 1 pm; The Coffee Trader, 2625 N Downer; GILGAMESH November 22 Music From Almost Yesterday 229-4308 Yehuda Yannay, director February 19-March 1 Garth Fagan Dance 8pm; $2-$4; UWM: Recital Hall; 229-4308 November 3 ROMEO AND JULIET February 13 John Hsu & Catherine Liddel March 11-21 October 11 Early Music Now; 8pm; $12-$l 4; Centennial Spalding Gray SifiVfi R ft ICn Hall, 733 8th; 271-3335 GUYS AND DOLLS February 29 8pm; $15-22; Pabst Theater,! 44 E Wells; May 5-10 229-4308 November 7 Bulgarian State Music from Almost Yesterday Female Vocal Choir October 11-13 Edwin London, composer; 8pm; $2-$4; UWM: Tickets: $9 March 14 Milwaukee Symphony Orchestra Recital Hall; 229-4308 Neal Gittleman, Conductor Sonny Rollins MSO Chorus; Vivaldi, Stravinsky, Saint-Saens November 7-9 March 27 F, Sa 8pm, Su 7:30; $12.50-$42.50; PAC: Milwaukee Symphony Orchestra Uihlein Hall; 273-7206 Zdenek Macal, Conductor Patrice Michaels Bedi, soprano; Lee Henning, October 12 tenor; John Cheek, bass; Th 11 am, F Sa 8pm; UWM Symphony $12.50-$42.50; PAC: Uihlein Hall; 273-7206 Richard Hynson, Conductor Stefanie Jacobs, Pianist; Rachmaninoff; $4- November 8 $7.50; Pabst Theater,! 44 E Wells; 229-4308 Chick Corea's Elektric Band 8pm; $15-$22; Pabst Theater, 144 E Wells; 229-4308 35 November? Now-September 29 I Oth Anniversary Jazz Festival No Exit Chick Corea's Elektric Band Jean-Paul Sartre 7:30pm; $8-$l 2; Lawrence University Chapel, Studio 13 Appleton; 832-6585 F,Sa 8 &11 pm, Su 8pm; $6; Marquette Uni versity: Helfaer Theater; 288-7505 November 10 UWM Honors Band Festival Now-October 6 25th Anniversary Concert Lady in the Dark Keith Young, saxophone; Ron Nelson, com Kurt Weill poser; 3pm; $l 2-$24; PAC: Uihlein Hall; 229- Skylight Opera Theatre 4308 W,Th 7:30pm, F,Sa 8pm, Su 2 8.7pm except Oct 6 2pm; $19-$26; 813 N Jefferson; 271 - November 11 8815 Woodwind Arts Quintet 8pm; $3-$6; UWM: Recital Hall; 229-4308 Now-October 20 Musical Revue of Broadway Tunes November 12 John Kander, composer/Fred Ebb, lyricist The Hanover Band Milwaukee Repertory Theater: Stackner Caba Artist Series at the Pabst; 8pm; $12-$25; Pabst ret; W Su 7:30pm Th F 8pm Su 5 & 9pm; $7- Theater, 144 E Wells; 226-8777 $9; 108 E Wells; info 224-9490 November 12 Now-October 20 UWM Jazz Ensemble Other People's Money 12:30pm; free; UWM: Union Concourse Jerry Sterner Milwaukee Repertory Theater November 13 T,W 7:30pm, Sa 5 & 9pm, Su 2 8.7:30pm; $7- Milwaukee Symphony Orchestra $12; Stiemke Theater, 108 E Wells; 224-9490 Neal Gittleman, Conductor 1812 Overture; 7:30pm; $8-$ 15; Pabst Thea Now-October 20 ter, 144 E Wells; 278-3663 Our Town Thorton Wilder November 14 Milwaukee Repertory Theatre Institute of Chamber Music T,W 7:30pm Th,F 8pm Sa 5 & 9pm Su 2 8. 0m J) MHOS. Woodwind Quintet; 8pm; $2-$4; UWM: Re 7:30pm; $6-$22; Powerhouse Theater,108 E cital Hall; 229-4308 Wells; 224-9490 November 14 September 18-22 UWM Symphony Orchestra Moscow Kitchens alls ' f~;... 12:30pm; free;UWM : Union Concourse Omsk State Drama Theatre Milwaukee Repertory Theater art ok November 14-16 W 7:30pm, Th 8pm, Sa 5 8c 9pm, Su 2 87pm; Milwaukee Symphony Orchestra $7.50-$25; 108 E Wells; 224-9490 Zdenek Macal, Conductor Jeffrey Swann, Pianist; Sierra, Mozart, Bern- September 18-28 |P:™' stein^Th 7:30pm, F 7pm, Sa 8pm; $12-$36; Memoir PAC: Uihlein Hall; 273-7206 John Murrell UWM Professional Theatre Training Program November 15 Sa 8pm, Su 2:30pm; $8-$l 0; UWM: Fine Arts John Mc Cutcheon & Madeline MacNeil Theatre; 229-4308 Benefit for UWM Center for General Music; 8pm; $5-$10; Wyndam Hotel Ballroom, 139 September 20, 21,27, 28 E Kilbourn; 229-4308 Benefit for Boulevard Ensemble MflNDRACCHin Presentation of summer acting workshop scenes; November 15-16 7pm; donation requested; Boulevard Theatre, 414 • 352 • 7382 PRESENT Music 2250 S Kinnickinnk; info 672-6019 Shelly Hirsch, David Weinstein, Mrs. Fun 8pm; $10; Shank Hall, 1434 N Farwell; 271 - September 21 0711 The Guardsman Cafe Melange Radio Theatre November 16 7:30 & 10pm; $3; Cafe Melange; 3rd & UWM Symphony Wisconsin; 291-9889 Richard Hyson, Conductor This is the amaracj Serving the Barry Benjamin, French horn; 8pm; $7; Pabst September 21 Theater, 144 E Wells; 229-4308 Rapunzel finest BBQ ribs place! Open AlphaBet Soup Productions blues {am in Milwaukee November 17 1 8c 3:30pm; $4.24-$7.25; Capitol Civic Gospel Fest Centre, 917 S 8th, Manitowoc; 683-2184 every Assorted New Jerusalem Baptist Church Choir, Sheri Dukes, Colorlines Community Youth Ensemble; Thursday. Live salads, September 27 3:30pm; $3-$7; Pabst Theater, 144 E Wells; An Evening with Steve Allen blues by sandwiches, 276-8788 8pm; $12-$26; Capitol Civic Centre, 917 S 8th, Manitowoc; 683-2)84 Milwaukee's and November 19 premiere tantalizing Ursula Oppens, Pianist 8pm; $12-$25; Pabst Theater,144 E Wells; October 6 November 3 musicians appetizers with 226-8777 Pilgrims of the Night most Fridays a vast Len Jenkin November 22 & 24 Theatre X and array of beers UWM Fall Opera Eccentrics await UFO tour; previews Oct 3-5; Saturdays. and spirits. 2:30pm; $5; UWM: Studio Theater;229-4308 W,Th 7:30pm, F 8pm Sa, Su 1 & 3:30pm; 158- N Broadway; 278-0555 November 23 Sweet Honey in the Rock October 9-19 A Capella ensemble; blues, gospel & jazz; The Grapes of Wrath 8pm; $10-$22; Alverno College, 3401 S 39th; John Steinbeck 3 2 2 W. State 2 2 5-2552 382-6166 UWM Professional Theatre Training Program Sa 8pm, Su 2:30pm; $8-10; UWM: Fine Arts November 24 Theatre; 229-4308 Fine Arts Quartet Ralph Evans, Violinist & Joseph Evans, Pianist October 10-November 15 3pm; $12; UWM: Fine Arts Recital Hall, 2400 The Ugh/ Duckling NEON ST TM E Kenwood; 229-4308 First Stage Milwaukee Sa,Sul 8. 3:30pm; PAC: Todd Wehr Theater; November 24 info 273-7206 Milwaukee Civic Symphony neon window signs Monte Perkins, Conductor October 11-26 neon mall signs Mendelssohn; 3pm; $7.50; MATC: Cooley Rumors Auditorium, 1015 N 6th; 352-4678 Neil Simon neon lighting Sunset Playhouse neon art November 29-December 1 Th,F 8pm, Sa 6 8c 9pm, Su 7pm; $8; 800 Elm Milwaukee Symphony Orchestra Grove Road, Elm Grove; 782-4430 neon furniture Maximiano Valdes, Conductor Gustov Rivinius, Cellist; Mozart, Tchaikovsky, October 16-November 10 Mendelssohn; F, Sa 8pm Su 7:30pm; $12.50- The Potting Shed 4828 w. donges bay road $42.50; PAGUihlein Hall; 273-7206 Graham Greene Acacia Theatre Company gallery open to public Th-Sa 8pm, Su 3pm; $7-11; 3300 N Sherman; monday-saturday 10-5 223-4996 Wednesday 10-8 Now-September 29 October 17-19 closed Sunday The Boys Next Door Maturando Tom Griffin Grupo Contadores de Estorias (the storytellers) Next Act Theatre 8pm; $10-$22; Alverno College, 3401 S 39th; 242-8007. Th, F 8pm; Sa 5, 9pm; Su 7:30pm (Sept 29 382-6044 2pm); $12-$14; Centennial Hall, 733 N 8th; 278-7780 36 Art Muscle October 24-November 17 November 1-17 Right You Are: Pirandello And A Nightingale Sang: C P Taylor Boulevard Ensemble Next Act Theatre Th-Su 8pm; $8-$9; Boulevard Theatre, 2250 S Th,F 8pm, Sa 5 8c 9pm, Su 7:30pm; $12-$l 4; Kinnickinnic; 672-6019 Centennial Hall, 733 N 8th; 278-7780 Ths Hook & Ey< costuming shop* October 25-26 & November 1-2 November 13 ART MUSCLE And a Nightingale Sang 42nd Street Student production; F,Sa 8pm,Th 10am; $13- 7pm; $13-$16; UW-Parkside: Communica $16; UW-Parkside Theater; 553-2404 tion Arts Theatre; 553-2404 CLASSIFIEDS October 25-November 24 November 22-December 7 Greater Tuna It Runs in the Family: Ray Cooney Jaston Williams, Joe Sears, 8c Ed Howard Sunset Playhouse $20 AN INCH 1510 N. Farwell Milwaukee, Wi 53202 Milwaukee Repertory Theatre Th,F 8pm, Sa 6 & 9pm, Su 7pm; $8; 800 Elm 272-6046 W 8. Su 7:30pm Th & F 8pm S 5pm 8c 9pm; $7- Grove Road, Elm Grove; 782-4431 $9; Stackner Cabaret,108 E Wells; 224-1761 November 23 Next issue: Dec. 1-Feb. 1 October 29-November 16 The Canterville Ghost Chekhov Repertory Children's Theatre Company of Minneapolis TheCherryOrchard-Oct 29-31 Nov 1,2,15,17 3:30pm; $5-$10; Captol Civic Centre, 917 S Ad deadline: November 8 The Three Sisters-Nov 6-10,12,14,16 8th, Manitowoc; 683-2184 GALLERY SALES UWM Professional Theatre Training Program Unique opportunity for part time Tu-Th 7:30pm F,Sa 8pm Su 2:30pm; $9-$l 1; November 29-December 22 Gall: 672-8485 employment in our Cathedral UWM: Fine Arts Theater; 229-4308 The Best Christmas Pageant Ever Square gallery. Apply to jeannie Barbara Robinson Carmichael, 790 N. Jackson. October 30-November 3 First Stage Milwaukee Phone: 277-9797. Broadway Bound : Neil Simon Tu-Th 7pm,F 7pm,Sa 2 8c 7:30pm,Su 1:30 8. JCC Theater Company 4pm; $6 8. $12; PAC: Todd Wehr Theater; W 7:30, Sa 8pm, Su 2 & 7pm; $6-$8; Ritz 273-7206 Theater, 6255 N Santa Monica; 964-4444 UNIQUE LOFT CONDOMINIUM Historic Third Ward I f i For Sale by owners: 2 bedrooms • 1 1/2 baths 3 levels • Includes artist studio with lasses two skylights. All modern appliances. Two heated underground ENGLISH TUTOR parking spaces. MILWAUKEE $144,000 PERSONAL WRITING COACH CUSTOM FRAMING MOTION Individualized tutorials for By appointment only - 224-0383 AT AFFORDABLE PRICES Will consider lease option WORKSHOP adults and children. All levels: basic skills to business and 1668 N. Warren Ave. M-W-F 10-6 6 WEEK CLASS SESSIONS BEGIN professional writing for publication. (Off Brady & Farwell) T-Th 12-7 Milwaukee, Wl 53202 Sat 12-4 September 9, September 30 & November 4 Editorial consultations for dissertations, fiction and poetry also available. Special HOLISTIC CLASSES: Relaxation, Creative attention provided for second language Dance, Space Harmony for Non-Dancers problems and writer's block. and more. CHILDREN'S creativity classes drawn from Ph.D. with publications and experience. nature images. 278-8933 TECHNIQUE: All Levels Modern, Jazz, Specializing in antique restoration Space Harmony. 2(efinisfUng and ZlpfwCstery HOLOGRAM & NEON GALLERY STUDIOS OF ART CLASSES BETTY SALAMUN'S DANCECIRCUS FOR THOSE COMING HOME 404 S. 7th St (access from Virginia St.) 2159S. 9(innicinnic FREE PARKING 272-MOVE Come home to your SELF Milxuauk&e, Wl 53207 MAYFAIR MALL through creativity - your 482-3230 (414)25846250 natural gift of healing. "Beyond Drawing" - combines *7 JQ • technical instruction and art therapy Swedish Massage^ GRAPHICS for those wanting personal change efh V^$25p -a.47^ POSTERS and growth. Day and evening 1209 E. Language Center Certified >* Laure classes. Limited size. Personal Therapist THEM AND US By Gregory Conniff American studies. She also curated, in tracing contem 1987, the first and only exhibition in porary living pat Madison devoted to black artists who terns to roots in There is a show coming to the Madison have been associated with Wisconsin. Africa and then Art Center next spring called Interrogat Her work has been widely exhibited, unifying root to ing Identity. It is an international exhibi albeit not much in Madison. branch, integrat tion of 18 artists — born in 10 countries, ing power and now living in three — whose work is At Madison Area Technical College, the self worth. rooted in their cultural backgrounds. In head of the Art Department, Jerry Butler, the countries they now call home (Can is a black artist with an MFA from UW- However, the ada, England, the United States) their Madison. He is also on the Board of damndest thing specific roots produce a sense of identity Directors of the Madison Art Center and happened as I which differs from the majority of people the Board of the Dane County Cultural moved from art livingthere. If there isa single piece in the Affairs Committee. He plans to be an ist to artist gath exhibition that could unite their points of influence on the Art Center's acquisition ering their ideas view I think it would be Gary Simmons' committee, but much of his thinking now along the way— installation of a rack holding two black is devoted to reaching young black the ideas, as I terry cloth towels, one monogrammed American males, who as a group are self understood "Us" and the other "Them." destructing. His effort to recruit these them, failed to young men to MATC and careers as artists form the predict In this column, as in last issue's column, includes opening programs in the neigh able pattern I'd I am turning over thoughts that have risen borhood where many of the young men expected after from conversations with artists from live. He has even offered to bring them to reading about a Madison's African-American community. the main campus in his own car for a look "collective Afri I am an artist, but not African-American. at the opportunities that exist in art for a can conscious I talked with black artists because I feel a positive self-identity and a career. He ness." To one lack of personal knowledge about how spoke to me of the need for young black artist, Rap music we differ or how we are the same. In my men to see black career models other is an expression mind, before I began to meet people, I than athletes and to see more black men of the creative was a "Them" to their "Us." And I may be in the media. I was struck, a week later, to and percussive a "Them." But "Them" and "Us" are more see that the latest subject of the "Dewars energy of black complicated than I had reckoned — at Profile" ads is a 31-year-old African music and lan least in Madison, at least to me in the American graphic artist who drew the guage. To an narrow area of art. 50th anniversary issue of the Batman other, it's a ghetto comic. stereotype. The The polarities of "Us" and "Them" charge same with black the energies of racism, genocide and war, In an institutional town such as Madison, English. And af but they charge also a great deal of be the posts that HighTesfagiorgis and Butler ter I'd begun to nign human behavior. Decisions of who occupy are not token positions. They work with the to love, how to work and play, even what Freida High W. Tesfagbrgis, Witch Wench, 1989 provide great opportunities for influence, idea that African- to eat involve complex recognitions of an especially as Madison adjusts to its rap American art rises from life experience firm central core. And if it is confusing to "Us-and-Them" nature. Simmons' piece, and has certain qualities of color and idly increasing multi-racial population. those not part of the struggle, so what? As upon reflection, can be read as a simple rhythm, I was told by an artist who agrees In their choice to work institutionally one artist said to me, "I'm glad you're description of, or shared indictment of, with that idea that she nonetheless claims they share something with other African- interested, but we're doing this for our this human separateness we hold in Martin Puryear as an "African-American" American artists who spoke to me. All of selves." common. But the thing about this sepa artist despite his not meeting these crite these artists commonly spent little time rateness, this instinct to isolate from and ria. The more I listened, the more differ talking about their individual situations distinguish between, is that it is as easily ences appeared. The one thing people in town, preferring instead to talk about Mind Designs served by dislike as it is by affection and did agree on was that the black American perceptions of cultural difference and it is fed by an almost universal reluctance community is vastly creative and has for goals for their communities that are larger Unlimited to embrace the unfamiliar. too long been an undercredited, under than their own careers. paid source for much that has been prof itable for non-black American business. Madison, in its art world, is not, I believe, Perhaps this was due to my asking ques a microcosm of any larger racist social This is, of course, in addition to a long list tions about the nature of African-Ameri of injustices and crimes directed towards structure here or elsewhere, although can culture, or the differences the artists individual acts of stupidity and ignorance black Americans for a couple of centu see between black and white culture, but ries. have occurred. Madison is a government/ I don't think so. It was characteristic of academy bureaucracy which may, in fact, these artists to place themselves within a be a microcosm of a world that in some community and not in a spotlight. The complexities of the issue of identity areas is incrementally growing less racist. based on race and culture are endless and Although the University Art Department That community is in part Madison, but it draining, but are healthier than an iden has not been successful in recruiting black is also a continuum which extends back tity built solely on anger. Some facts fall artists to its faculty, the Chair of the Afro- through time to Africa. All of the artists I before armies of belief, while other facts NLP American Studies Department, Freida spoke with identify themselves as Ameri are recovered sometimes by solitary be HighTesfagiorgis, is an artist and is press can, but they identify themselves also as lievers. The strongest identities are the Seminars to help ing her colleagues for an expansion of products of the mixing of two strong ones people maintain despite being ig you be in charge of you studies in art history and criticism, the cultures — one of which is African in nored or despite pressure to change. What most underexamined areas of Afro- origin. A great deal of energy is going into other people think matters less than a Call 414/351-4778 for a Free brochure ART EXHIBITIONS Jura Silverman Gallery Sunprinr Cafe & Gallery LECTURES Now-November 7 Now-September 22 Fanny Garver Gallery Peg Miller, paintings Joyce Koskenmaki, drawings & paintings Madison Art Center October 1 -31 4th Annual Wisconsin Sculptors Exhibition 2701 University; 608/271-9330 Sept 26 - Philip Pearlstein, realist printmaker & Barbara Rewey, watercolors; opening Sept 27 143 S Washington, Spring Green; 608/588- painter; an overview of his works; 5:30pm; November 1 -30 7049 Wisconsin Union Galleries Oct 13 - Stacy Hollander; in conjunction w/ Neighborhoods: Mark Barone, Hugh Man- Theater Gallery: Access toAi t Bringing Folk Art Closer; 1:30pm deierf, Renee Roeder, Art Werger; opening Madison Art Center November 8-December 14 Gallery Talks: Oct 26; 230 State; 608/256-6755 Now-October 20 Shadow to Light: G Averkamp, photographs Sept 20 - Stephen Fleischman Works from the Museum of American Folk Art UW-Madison: Union Gallery; 608/262-5969 Oct 11 - Marilyn Munski Sohi Grace Chosy Gallery exhibit designed for blind & visually impaired Nov 1 - Rene Barilleaux on Brooks Stevens Now-October 5 Now-October 31 DANCE & MUSIC F 12:15pm; 211 State; 608/257-0158 Windows: Gayie Cole & Paula Shuette Kraemer Highlights from the Permanent Collection fea October 11 -November 2 turing contemporary 20th century art Wisconsin Union Theater Wisconsin Union Marking the Land: Wendell Arneson Now-November 11 September 29 - Milwaukee Symphony Or November 14 Opening reception Oct 12 6-8pm Brooks Stevens; survey of car & boat designs; chestra; Zdenek Macal, conductor Gallery talk: Photography by Geoffrey October 19-Novemberl 0 211 State; 608/257-0158 Young Uck Kim, violinist Averkamp; 7pm; UW-Madison: Memorial John Colt, paintings; opening Oct 19 6-8pm; October 3-4 - Feld Ballet/NY Union, 800 Langdon; 608/262-5969 November 10-December 31 Spaightwood Galleries October 12 - Garrick Ohlsson, piano Paintings, Drawings & Small Decorative Works October 4-November 3 November 1 - Lhamo Folk Opera of Tibet THEATER opening reception Nov 10 1:30-4pm A Breath of Spain: Paintings, Drawings, November 7 - Academy of Ancient Music November 29-December 31 Monotypes & Etchings by Manel Uedos Sir Christopher Hogwood Madison Repertory Theater Aaron Bohrod: Varied Small Works November 8-December 1 November 15 - Steve Reich & Muscians Now-September 22 opening reception Nov 27 1:30-4pm Outside of Time: Paintings, Drawings & Prints 8pm; except MSO 2pm; UW-Madison: Me Eleemosynary by Lee Blessing November 29-December 31 Claude Garache 1965-1991 morial Union, 800 Langdon; 608/262-2201 W,Th,Su 7:30pm, F 8pm, Sa 8:30pm; $13.50- Holiday Show; 218 N Henry; 608/255-1211 1150 Spaight Street; 608/255-3043 $16.50; 608/256-0029 38 Art Muscle Jjrw' A.S2*\ >^*Z^J±y- ART EXHIBITIONS Catherine Edelman Gallery Klein Art Works Perimeter Gallery Now-October 5 Now-October 13 Now-October 12 Abel Joseph Gallery Pamela Bannos & Jeffrey Wolin, photography; Misha Gordin, photographs; Michael Todd, Dona Look, baskets,Waiter Hamady, collage Now-October 12 October 11 -November 9 bronze sculpture; 400 N Morgan; 312/243- & sculpture; Eleanor Moty, jewelry; Aristotle Georgiades, sculpture & installations AChicagoTribute:Crane, Jachna &Josephson; 0400 October 18-November 16 1600 N Milwaukee; 312/384-4959 November 15-December 21 John Balsley; 750 N Orleans; 312/266-9473 Hollywood: Inside & Out: Hurreli & Avery; Lannon Cole Gallery ARC Gallery 300 W Superior; 312/266-2350 Now-October 3 Peter Miller Gallery Now-September 28 Anita Janosova & Kim Soren Larsen, paintings; Now-October 9 Women Who Build, sculpture; Maxine Hen- College of Lake County 365 W Chicago; 312/951 -0700 Willie Cole, sculpture ryson, Ektacolor photographs; Lisa Rieiveld, Now-September 29 401 W Superior; 312/951-0252 paintings; Jerry Kykisz, photographs & poetry Dorothy Vagnieres, sculpture; 19251 WWash- Marx Gallery of Vietnam; 1040 W Huron; 312/733-2787 ington, Grayslake; 708/223-6601 Now-October 12 Portals, Ltd Illinois Glass Now-October 31 Artemisia Gallery Cortesi Gallery October 8-November 30 Fleur Cowles, paintings Now-September 28 Now-September 30 Portraits of Glass: Katherine & William Bern 230 W Huron; 312/642-1066 Coreth, Van Der Loan, Ungkauatanopong, Human: 27 Chicago artists; 777 Central; 708/ stein; opening Oct 18 5-8pm; 208 W Kinzie; Hereth & Propp 432-1888 312/661-0657 R.H. Love Gallery October 1 -26 October 18-November 12 Shaffer, Anderson, Pilat, Christiansen, Ander Enters Caudill Gallery Ltd May Weber Museum of Cultural Art Bruce Beasley, bronze sculpture; opening Oct son, Lawrence & Scheer; opening Oct 4 5- Now-October 15 Now-December 29 18 5-7pm; 100 E Ohio; 312/988-7237 8pm; 700 N Carpenter; 312/226-7323 Patty Carroll, color photographs Containers of Spirit & Substance Now-November 30 Noon-5pm; $1; 299 E Ontario; 312/787- Ricky Reiner Gallery Art Institute of Chicago Nathan Lerner, photographs 4477 Now-October 31 September 21 -November 17 750 N Orleans; 312/642-8611 Klaus Richter The Portrait Miniature in America Museum of Contemporary Art 1550 N Milwaukee; 312/227-3090 Now-October 27 Galerie Thomas R Monahan September 28-November 10 Pottery: Selections from the Root Collection; Now-October 17 Memory & Metaphor Romare Bearden 1940- School of the Art Institute of Chicago Now-November 10 Saul Kaminer 1987, from cubist paintings tocollage ; also Betty Rymer Gallery:Sept 20-October 23 Contemporary Prints & Portfolios 301 W Superior; 312/266-7530 Rosemarie Trockel, sculpture; Coast toCoast : Artists Return toth e School of Now-January 21 237 E Ontario; 312/280-5161 the Art Institute; opening Sept 20 5-7pm; Co Contemporary Austrian Architecture & Design Gallery Ten lumbus Dr. & Jackson Blvd., 312/443-3703 Now-January 22 September 27-November 1 NJLM.E. Gallery Gallery 2:Now-October 4 Pontormo to Seurat; newly acquired drawings The Fine Art of Craft; openings Oct 4-5, 5- Now-October 11 Revelations: Artists Look at Religions November 2-January 5 9pm; 514 E State, Rockford; 815/964-1743 Anti-Nihilism October 11 -November 8 Martin Puryear, sculpture Group show examines political, environmental, Group Exhibition, paintings; opening Oct 11 November 9-February 25 Holdn Kaufman Gallery sexual issues; 700 N. Carpenter; 312/226- 6-8pm; 1040 W Huron; 312/226-1449 Grave Goods From Ancient Cultures Now-October 5 0671 November 21 -February 3 Ed McGowin & Christina DePaul StudioSpace Korean Ceramics from the Atoka Collection October 11 -November 9 Nancy Lurie Gallery Now-October 30 Michigan at Adams; 312/443-3626 Claire Prussian, paintings; opening Oct 11 5- Now-October 12 Group exhibition; openings Oct 11 2-8pm Oct 7:30pm; 210 W Superior; 312/266-1211 Sheila Klein, sculpture 12 11-4pm; 1732 W Hubbard; 312/243- Beacon Street Gallery October 18-November 16 4144 September 20-October 26 Gallery 1756 Linda Emmerman, paintings Behind The Golden Door: Refugees In Uptown Now-October 3 November 22-January 4 Slate of Illinois Art Gallery Opening Sept 20 5:30-10pm; 4520 N Bea Militant Trash: A Subtext of Life in Chile & Steve Keister, sculpture; 1632 N LaSalle; 312/ September 16-November 1 con; 312/561-3500 Argentina: James Biery, photographs 377-2883 Portraits of Chicago Artists by Patty Carroll & 1756 N Sedgewidc; 312/642-690 Nereyda Garcia, opening Sept 20 5:30-8pm; Cafe Penelope Paper Press 100 W Randolph; 312/917-5322 Now-November 30 Gilman/Gruen Galleries Now-October 27 Inara Cedrins, woodcuts from life drawings & Now-October 2 The Black Hills Series poetry; 234 S Ashland; 312/243-3600 Lowell Boileau, paintings Dennis Navrat, handmade paper; 1017 W 226 W Superior; 312/337-6262 Jackson; 312/226-6300 Art Pottery Art dlass Vintage Clothins Art Deco Aodern, Funky, 50's SCRAMBLE OVER EASY OR u na GET BASTED SUNNYSIDE UP. You get breakfast the way you like it at Le Peep. tASTSIDCR Eggs prepared two dozen ways. Pancakes, OJ, 100% Cocktails Colombian coffee. Crispy bacon and savory sausage. Distinctive Collectibles A great breakfast, at a fair price, served with a smile. Milwaukee poetry slam 926 E. Center every Tuesday, 8 p.m. TWO LOCATIONS 562-271 1 250 E. Wisconsin Avenue • 273-PEEP Tony DePalma, proprietor 3900 W. Brown Deer Rd. • 355-8188 Tues. thru Sat. 12-5 Open Mon-Fri 6:30 a.m. to 2:30 p.m. / Sat. and Sun. 7 a.m. to 2:30 p.m. 706 E. Lyon Street - 347-9972 All of Our Customers Now Enjoy New Studio Spaces Opening Soon Everyday Discounts! ARTS INCUBATOR You'll Save 15-25% • Fully Renovated Custom Built Studios on Most Merchandise • Skylights and North Facing Windows NEW! • Full Capacity Freight Elevator • Marketing and Business Development Assistance PRISMACOLOR Pencils • Neons, Metallics & Earth Tones • Inexpensive Rates • Big 96- and 120-Pencil Sets • Exhibit Space • 12-Color Specialty Palettes • 24 Hour Access NEW! • Currently Houses 55 Small Companies Winsor & Newton Scepter Brushes SPACE IS LIMITED, CALL NOW • 18 New Styles & Sizes • More Sable in the Blends Mary Lou Lamonda 372-3936 Brian OMalley 372-3936 < Arts & Crafts Retail Store k 100A E. Pleasant St., Milwaukee, Wl Milwaukee Enterprise Center Hours: M-F 9:30AM-6:00PM, Sat. 9AM-5PM 414-264-1580 2821 North 4th Street 39 OAKLAND C -A- Cas 4LCtl In tii at& 3S*49 1ST. Oakland^±m. • J\*ilyvaw*Mc*m WX 53211 m 332S<**40