A BI-MONTHLY PUBLICATION OF THE ARTS Volume 2, Issue 4 March 15/May 15, 1988 Editor-in-Chief Debra Brehmer From the Editor

Associate Editor Calendar Editor I attended a two-day conference at the Center We hope you'll help us assess how close we're for Arts Criticism in St. Paul recently for edi­ coming to some of these goals by filling out the Business Manager tors of art magazines. It turned out that Art survey you'll find inside this issue. We need to Muscle was the only for-profit art magazine Therese Gantz know who you are, where you're from and why represented, which means we rely on advertis­ you now have a copy of this magazine in your ing and subscriptions for income, rather than hands. We also want to know what you like and Associate Editor-Music grants. We initially chose this route because we dislike about the magazine and whether you wanted to ensure that the magazine was inte­ have any ideas for increasing coverage in cer­ Bobby DuPah grated into the city-at-large. We wanted the tain areas or developing the content, look, etc. magazine to reach a large and diverse audience So please take the time to complete the survey (which it does), not just an art audience. Most and add any comments you want. We'll talk Photo Editor of the other magazines at the conference had about the results in our next issue (May 15). smaller incomes and therefore smaller circula­ Francis Ford tions of about 2,000. Art Muscle's circulation is In a future issue of Art Muscle, we'll also pub­ 20,000. The question came up as to whether we lish an index of other cities' art magazines for could continue to reach such a diverse audience anyone interested in obtaining copies. Ad Manager without compromising the intellectual content Sam Woodburn of the magazine. Good question. Our philos­ On an unrelated note: In case you missed it, our ophy has been that difficult ideas and concepts dance party in February drew about 350 peo­ can be communicated to a large audience, but it ple, many of whom did manage to figure out Art Direction takes good writing and clear thinking to do it. how to dance to salsa music. No easy feat, but hopefully we succeed more Scott Schanke often than not. Anyway, what I realized from And a final reminder: you too can be a Friend of all of this is that Art Muscle is an experiment. Art Muscle. If you'll notice the masthead, our Design Assistance We are determining whether the commercial number of Friends has more than doubled since market will support something as altruistic as a Don Sefton the last issue (which contained only two friends, local art magazine; whether we can continue to both relatives). Just send a check for $50, and interest many sectors of the population; wheth­ you'll be a friend and have a 5-year subscrip­ er we can stimulate intellectual thought and tion to boot. We're putting the Friends' money Typesetting by Ries Graphics discussion and entertain at the same time, and in a special account earmarked to purchase Printing by Citizen Publishing whether we can increase participation in the some badly needed additional computer equip- arts in Wisconsin. ment- Debra Brehmer

FRIENDS OF ART MUSCLE Mr, & Mrs. Perry Dinkin, Mr. & Mrs. Jack Recht, Jim Newhouse, Peter Goldberg, Theo Kisch

To become a FRIEND OF ART MUS­ CLE, send a check for $50 which enti­ tles you to a 5-year subsription.

Art Muscle is published bi-monthly by Art Muscle-Milwaukee, Inc., 909 W. National Ave, P.O. Box 93219, Milwau­ kee, Wl 53203. Third Class postage paid at Milwaukee, Wl 53202 and ad­ ditional mailing offices. Postmaster: photo by Jim lirozck Send address changes to Art Muscle, P.O. Box 93219, Milwaukee, Wl 53203.

Entire contents copyright © Art Mus­ cle-Milwaukee, Inc. All rights re­ served, except in reviews. Reproduc­ tions in whole or part without written permission is prohibited. Art Muscle is a trademark of Art Muscle-Milwaukee, "Great simplicity is only won by an intense moment or by years of intelligent effort, or both. It Inc. represents one of the most arduous conquests of the human spirit: the triumph of feeling and thought over the natural sins of language." Subscriptions rates in continental U.S.: $12 one year; elsewhere, $16 one year. T.S. Eliot

2 Art Muscle Art Muscle CONTENTS

FEATURES Divine 15 Francis Ford

Deb Ball 18 .f. Shimon &J. Lintlemann

Selling Outside the City 22 .fobu Gruemvald

Architechture - Premodo 26 ./'ofon Utttro/)/)

Photography on the Edge 28 <"yhthia Crigler Reader Survey 33

DEPARTMENTS AGOG 6

Letters/Letter Home 7

Post Facto - Reviews 10

Previews 11

Ear Muscle 12

Beyond Video Clone 14

Linear B 17

Performance Futures 20

Walk This Way 25

Calendar 35

Cover: Fred Stonehouse, 1987. Fred Stonehouse is a Milwaukee painter.

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A rts Upaf awards smaller The following arts groups received ter Burks, Kate Davy, Pat Fetterley, Dick Blau, department chairman, will arts groups grants grants under the new program: Great- Danni Gendelman, Phil McGoohan be shown in March at the Houston For the first time in its 21 year history, American Children's Theater Co., and Nancy Stephens. Unlike other Fotofest. Cecelia Conduit, associate the United Performing Arts Fund re­ $13,458; Milwaukee Inner City Arts grant programs, once a group qualifies professor of film, presented her video, cently awarded grant money to 15 Council, $9,176; Milwaukee Chamber it will continue to receive funding on a Not a Jealous Bone at the Museum of smaller arts groups. This represents a Theater, $8,130; Theatre X, $7,293; yearly basis. UPAF raises funding each Modern Art in New York on Feb. 28. major change in the organization's Woodland Pattern, $6,423; Milwau­ year through corporate foundations, structure and mission. UPAF previous­ kee Opera Co., $5,826; Bauer Con­ individual donations and workplace Steichen show ly only awarded money to seven of the temporary Ballet, $5,701; Ko-Thi giving. This year's campaign goal is An artist who started his career in Mil­ city's largest performing arts organiza­ Dance Co., $5,454; Clavis Theater, $5.2 million. waukee and went on to become one of tions. $5,317; Acacia Theater, $5,307; Mil­ the world's greatest photographers is waukee Chamber Music Society, Film department scores being honored in Steichen/109, a ma­ UPAF initiated the program with $5,291; Theater Tesseract, $5,152; Members of the University of Wiscon­ jor exhibition at the University of Wis­ $100,009 seed money, $50,000 of Theater School Ltd., $5,111; and sin-Milwaukee Film Department have consin-Milwaukee Art Museum, Vogel which was awarded from the Milwau­ Dancecircus Ltd., $4,470. recently garnered some awards. Patri­ Hall Galleries, 3253 N. Downer Ave., kee Foundation. According to Cam­ cia Mellencamp, associate professor of from March 27 to May 8. The exhibi­ paign Director Lisa Froemming, UPAF Three applicants were rejected: Mil­ art history and the coordinator of the tion includes 118 works, divided into hopes to double the amount this year. waukee Choristers, Milwaukee Music Letters and Science Film Program, was five sections outlining phases of Stei- Ensemble and Next Generation The­ one of 10 Americans selected to attend chen's career. Any arts group with a yearly budget of ater. These groups did not meet all the the First International Congress of $50,000 or more that has been in exis­ UPAF requirements. Women in Film in the Soviet Union in New director for tence for three seasons and has an ac­ March. Rob Danielson, an associate Madison Art Center tive board of directors can apply. For Grant awards are based on the organi­ professor of film, had a documentary, The Madison Art Center has hired Da­ application information, contact the zations' total operating budgets, not Opposite Effects selected for the Infer- vid Scott Berreth, 38, as its new direc­ Milwaukee Artists Foundation at 276- on project requests or other need fac­ mental 7 exhibition. His was one of 58 tor, replacing Tom Garver who re­ 9276. Grants will be awarded in the tors. A seven member panel reviews films and videos selected from 575 en­ signed in 1987. Berreth previously fall of 1988. the proposals. Current panel members tries to be broadcast in 25 countries was director of Miami University's Art are Kent Anderson (Chairman), Wal­ around the world. Ten photographs by Museum in Oxford, Ohio.

G rants Erickson wins fellowship award Fellowship awards kee, a video artist and teacher at Lorrie Moore of Madison, a fiction Jon Erickson, a Milwaukee perfor­ The 1988 Wisconsin Arts Board Fel­ UWM; Joyce Paul of Mequon, a paint­ writer. Choreography fellowships mance artist and doctoral student at lowship Awards have been an­ er and second-time recipient; and Char went to Chris Stevens and Judith Moss the University of Wisconsin-Milwau­ nounced. Three visual artists, three TerBeest, a basket-maker. Literary of Madison. Both are modern dance kee, has won the Tinsley Helton Dis­ writers and two choreographers each arts fellowships went to Jane Hamilton choreographers. sertation Fellowship of $10,000. The received $5,000. Winners in visual of Rochester, a fiction writer; Justin award is given out each year through arts were Cecelia Condit of Milwau­ Isherwood of Plover, an essayist; and the English Department.

opportunitie s Call for slides $25 and 10 issues. Entry deadline is ists not affiliated with a gallery. Visual work by Wisconsin women. Entry fee Hunter-Thomas Gallery, a new mid­ April 30. For guidelines, send artists should submit examples of their is $8 and the deadline is April 2. For west/east coast gallery group specializ­ stamped, self-addressed envelope to work for consideration. Send a maxi­ information, write to Survival Graph­ ing in works by emerging artists, is cur­ ESSAY, Women Artists News, Box mum of 20 slides, a resume and cre­ ics School of Art, 853 Williamson St., rently accepting submissions. They are 3304, Grand Central Station, New dentials to the Committee for Arts, Madison, Wl 53703. interested in work by MFA candidates York, NY 10163. 215 Martin Luther King Jr. Blvd., and graduates, who utilize printmak- Madison, Wl 53701. For more infor­ Mile of Art ing, drawing, painting and mixed me­ Church wants art mation, contact Anne Katz, (608) 266- March 30 is the deadline for applica­ dia. Send up to 20 slides, S.A.S.E., and The First Unitarian Church is seeking 6089. tions to the 12th annual Mile of Art other relevant information to: Hunter- artists to exhibit in the Common Room Fair Aug. 28 at Cardinal Stritch Col­ Thomas Gallery, P.O. Box 312, Madi­ Gallery in monthly shows beginning in Lill Street lege. The fair is juried by slides and son, Wl 53703. September 1988. Contact Betty Zill- Lill Street, the largest ceramic center in offers cash awards. For applications man at 1009 E. Ogden Ave., Milwau­ the Midwest, announces its Second write to Ellen Millonzi, Cardinal Essay contest kee 53202, before May 15. Annual Great Lakes Show. Deadline Stritch College, 6801N. Yates Rd. Mil­ The World-Wide Essay Contest, spon­ for entries is April 25. Artists from the waukee, Wl 53217. sored by Women Artists News, is seek­ Public art Great Lakes states may enter. For Muscle workers ing essays that address the question, The Madison Committee for the Arts more information and a prospectus, Art Muscle needs help. We need a vol­ "Whatever Happened to Art Criti­ has announced the creation of the Pub­ call (312) 477-6185 or write to Lill unteer to work in the office, helping to cism?" Essays should be no longer than lic Art Space, a gallery of work by Street, 1021 W. Lill, Chicago, 111 type, proof, and assist with mailings, 2,000 words. The top ten entries will Madison-area visual artists. The Public 60614. etc. We also need advertising sales Art Space, located in the lobby on the appear in a special issue of Women Survival Graphics representatives. We pay 15 percent first floor of the Madison Municipal Artists News. First Price: $150 and 25 Survival Graphics of Madison is ac­ commission. It's a good part-time job. Building on Martin Luther King Jr. free issues of the magazine; Second cepting entries for a juried show of Please call 672-8485 for more infor­ Prize, $50 and 15 issues; Third prize, Boulevard, provides exposure for art­ mation.

Gossi p Local artist and Georgia O'Keeffe seen in the classified ad section of the mogul Betty Quadracci is launching a tuned ... .upcoming possible Art look-alike Irene Adamczyk recently New Art Examiner: "Prolific Artist — weekly newspaper in the manner of Muscle activities: an art couture AIDS ventured to Santa Fe, New Mexico to seeks financial gift in exchange for the Village Voice, rumored to be com­ benefit collaboration with Live Gal­ investigate her alias' roots. She warm, diary-type letters about life as ing out in the next few months. Every­ lery, a CHEAP ART auction/dance par­ brought along her current series of an artist. ANYamount welcome. Brian body wants to be hip, don't they. Mil­ ty, and plans for the 3rd annual Art huge portraits of herself as Georgia, Salzberg, Box 131, Block Island, RI waukee Mag associate editor James Muscle Anniversary exhibition, tenta­ ;and had some interesting nibbles from 02807." Brian says he'll let us know Romenesko will be the editor of the tively called SLIDE SHOW. galleries. In restaurants and on buses, what response he gets Gee, how new rag. Romenesko may just have an Adamczyk overheard the tourists many Reg. G's are going to sell at Jen­ odd enough bent to make it worth­ while. He's a rather oblique fellow whisper, "She looks like Georgia sen's show? I think the last count was ... .sad news/bad with a penchant for coroners' reports O'Keeffe." Not by coincidence. We seven down. Peter Goldberg bought news. Dean Olson, proprietor of and witch hunts at the Norman Apart­ imagine Irene will be the life of the one. Get 'em while the gettin's good Wright Street Gallery is closing up ments ... could be interesting. party when she visits the Art Institute ... Jimmy Von Milwaukee received shop. He's tired of the art grind. Tired of Chicago's O'Keeffe show. 136 write-in votes for the mayoral pri­ ... ooh, ooh ... coming up at the of electric bills. Tired of being Mr. Nice Here's a mary. He says optimistically, "It's a be­ Museum of Contemporary Art in Chi­ Guy and coaxing people to buy art. guy with an innovative approach. As ginning." ... .Milwaukee Magazine cago — a Baselitz retrospective. Stay This is a big loss to the local art scene.

6 Art Muscle Letters to the Editors

Expatriate writes mind and ear if one only hears Beetho­ B-29 or B-17 "Eric J. Wallner, July Sky and B-29." Like Hi! I'm an expatriate Milwau- ven, Brahms and Vivaldi and then, the Your January/March cover picture His photography is fantastic, but his keean living in the savage east who same compositions. How many times caught my eye and memories of 45 technical info is puzzling me. I still needs to have some sort of contact can they play Resphigi's The Fountain years ago leaped into my mind. Hav­ think it is a B-17 (Flying Fortress of with rational civilization. That's why of Rome? It's all ad nauseum. We're ing spent many hours as an aircraft me­ WWII). I wonder ... Note: The B-29 I'm writing to you. I've been told Art almost into the 21st century, but does chanic on the B-17 bombers, I felt I (Superfortress) does not have its tail to Muscle is replacing the Milwaukee anyone know interesting and great was again standing before one with the ground. Journal as the most read publication in music has been written in the 20th? As tool box in hand. Sincerely, Milwaukee and I must have it. If your for the human voice, forget it. It Lu Rath rate's gone up, let me know or I will doesn't exist. This is a plea for help! It was after enjoying the entire issue Milwaukee, Wl surely wilt away into a puddle of Someone do something. (PS. I'm 66 so that I first noticed the cover was titled P.B.R. Now that I know Art Muscle I'm not a revolutionary!). exists, I will perish without it. Alas and Bernice Lee Letter Home Alack! Oh woe is me. Milwaukee, Wl Let Ko-Thi soar David Erickson About eight years ago, the then Mil­ Stoneham, MA waukee Ballet Company ran an ad campaign that found its way on the (Steve Koepp grew up near Pewaukee Roaring 1980s were not to be trusted. Defends New Age fleet of the Milwaukee County Transit and after graduating from the Univer­ Everything that seemed so hot and Read your article in Art Muscle on System. The ad stretched the length of sity of Wisconsin-Eau Claire with a de­ new is now old and cold. The critics, Mary Bartlein and New Age Music a bus, informing us, "BALLET IS gree in journalism, he worked at the having finally caught up with the fea­ (Ear Muscle by Bobby DuPah, Jan. 15 UBIQUITOUS." Certainly, mass tran­ Waukesha Freeman for several years ture writers, are revoking "new hot" issue) — interesting, witty, well writ­ sit is, and all other art forms should be as a writer and editor. In 1981 he status as quickly as it was handed out. ten. as well. Like buses, though, art cannot moved to New York City to work as a Fast-buck artists ranging from Keith Admittedly the name "new age" is become commonplace. "The touch­ reporter for Time Magazine. He cur­ Haring to Julian Schnabel are now meaningless and categorical, but so is stone of an art is its precision." (Ezra rently is associate editor of economic held up to varying degrees of ridicule, Jazz (what does that mean?) or Rock Pound). and business news at Time.) while such literary bratpackers as Bret — absolutely ridiculous — or is that Easton Ellis and Tama Janowitz are what the music sounds like — falling Regrettably, Ko-Thi have had to play, Dear Art Muscle, getting almost uniformly pasted for rocks? at best, second fiddle on the Milwau­ It has been different here in New York their current work. The toasts of the To the music (New Age) itself — all the kee dance scene while the concert City since the Crash. More relaxed, to town are now the crumbs. This seems things you said about it are true, but I master still cranks out a classical ballet my mind. The pressure is off. The man­ fitting to most New Yorkers, for it may ask, isn't there a place in our lives for company (the now Pennsylvania and ic mood of the Roaring '80s that become respectable again to struggle peacefulness, quiet and beauty of Milwaukee Ballet) of negligible tech­ gripped the whole country had been in obscurity. Likewise, being poor but mood and sound? Does everything we nique, to say nothing of artistry. After especially hysterical here in Manhat­ happy may no longer be a contradic­ tion in terms. listen to have to have a pounding, vio­ all, Casey usually would waltz with tan, where so much of the trillion dol­ lent beat with a hysterically screaming that strawberry blonde. But we know lars in stock-market profits came to singer — or shouter usually "singing" the rest of that oom pah pah in three- roost. My neighborhood, the East Vil­ For all its dislocations, the 80s in Man­ obscenities? quarter time. lage, was one of the most profoundly hattan have been something to see, es­ The pounding beat has been so indoc­ SPYDOR (Scot Atkins) affected, since it offered two of the pecially for an impressionable journal­ trinated into our listening public that local poet and temp, worker commodities that the new money most ist from Wisconsin. The galvanizing lack of it is immediately seen as boring. wanted to buy: art and real estate. The experiences began immediately on ar­ You are very cordially invited to hear Art Muscle slapped prices for both of those desirables went rival. I won't forget meeting my hero my music at La Boulangerie Sunday him upside the head out of sight and mind, turning every of the late 1970s, Joe Strummer of the mornings. Much of the unfamiliar mu­ Clash, hanging out in a bar on Broad­ I discovered Volume 2 Issue 3 of Art Junior Achiever in town into a gallery sic are my compositions I have worked way. Later, when rap was still fresh, it Muscle on Friday, Jan. 22 at Club owner or real-estate speculator. As the on intensely for years. It is music of was a maximal thrill to explore the Marilyn. Beautiful! Fantastic! Just money chase speeded up, so did the extreme but quiet emotion — be it clubs of the South Bronx with Grand­ what I've been looking for! I don't pace of change and the price of hip- New Age or whatever. Please listen master Flash and the Furious Five. See­ know whether I can describe how hap­ ness. (the sound of the Alto Flute is most py I am that I found your publication, ing business tycoons rise and fall was beautiful) and personally tell me what another gratifying experience. Some but I'll try. The Roaring 80s bred a lot of resent­ you think of it. It certainly will not be colleagues and I remember especially ment and intolerance around here as neurotic or showy with smoke bombs well a character we met three years I've always found Milwaukee to be well. The East Village became a battle­ going off, but, if you listen closely, you ago when we invited him to our office wonderful. I love Milwaukee. I was field for a war between two classes: the will hear some very unusual phrases, for coffee. It was Ivan Boesky, and he aware that Milwaukee has so much to bohemians, clad in their black uni­ and yes, a lot of melody. It will leave had a funny way of baring his teeth offer Art-wise. I'm just ashamed at forms and headdresses-of-the-week, you with a feeling of peace. When De­ when he smiled and jumping up every myself for almost never doing any­ and the Wall Streeters, dressed in their bussy first had his gorgeous ballet few minutes to make a phone call. Lat­ thing about my interest in the arts. I equally militant red suspenders and piece Afternoon of a Faun performed er, I would write a profile of him in suppose I had my reasons. Whether yellow ties. The more that the neigh­ in Paris, the reaction was much the which his sister-in-law described him they were good reasons or bad is now borhood polarized, the more impor­ same as you went to great pains to as "the worst piece of sewage I ever beside the point. I'm changing that tant that clothes became as a way of stress in your article. The populace had met." now. Your publication slapped me up­ identifying the enemy. Worst off was been constantly exposed to (for more side the head. I am amazed that there anyone caught in the middle with an than 100 years) the powerful, loud, are so many (different) activities. I identity crisis — people like me, a writ­ Lately New York has been like that: militant music of especially the Ger­ must have really lived a sheltered life! er who works for a big company. full of extremes: rich and poor, cold man composers and couldn't handle Which side was I on? My own solution and hot, uptown and downtown. Wis­ the extreme sensitivity and refinement was to become a Conscientious Objec­ consin may have its schizophrenic of the dreamy, impressionistic music With the tremendous changes I've gone through in my personal life as of tor; I wore duck-hunting clothes and qualities, but there it's an irony; here, — it was so different. Rock music is late, I've realized there are exciting, feed-mill caps in order to look like a it's business as usual. Even so, New great for dancing and partying. Let's wonderful opportunities out there to confused tourist from a small town in York in the post-crash era may become leave it there. For listening and emo­ experience. But Art Muscle has turned Wisconsin, which is honest enough be­ an easier place to set up housekeeping. tion, try something more gentle — it's me on to a whole new dimension that I cause that is how I still feel. A prime reason is that the insane good for you. wasn't considering enough. runup of Manhattan apartment-rental Rich Leikam The boom created a lot of performance rates is likely to stabilize, at long last. Flutist-Composer Enclosed is my Friend of Art Muscle anxiety in people's lives. Even for un- (When I first visited the city in 1978, a Milwaukee, Wl $50 subscription. I plan on enjoying it. greedy, patient folks, it was hard not to modest studio apartment cost $350 a I will use it to learn about the arts in feel envious or inadequate when so month; today the same apartment Yeah Strini the area. I plan on not only attending many peers were riding the big wave. would fetch almost $1000.) After liv­ Thank you for your Jan. 15 issue inter­ many functions, but I plan on partici­ One friend, an advertising copywriter, ing in five different places in the first view with Tom Strini. It was incisive, pating somehow. I am so excited about suddenly announced she would be get­ six years I lived here, I have settled informative and to the point. It is the talented people I may meet, the ting a six-figure payoff because her down with my girlfriend in a cozy little heartening to know there are people wonderful activities I can enjoy, the company was changing hands. As she shack no bigger than a Wauwatosa liv­ out there who are intelligent, discri­ satisfaction I will have in sharing this subtly informed me and another writ­ ing room. At times we have squeezed minating and honest. with my friends. I'm just so enthusias­ er, "I can buy both of you guys!" An­ in a dog, three cats and as many as five tic. Just reading this one issue has real­ other young acquaintance, a fashion- overnight guests. We have a good time Now, to the point. Could you get Strini ly affected me. It has opened up a industry executive who was shopping here, but every so often I like to fly or someone of his ilk to write a whole new set of challenges for me to for a limousine driver, asked for advice back to Pewaukee to do certain things SCATHING criticism of the program­ finally satisfy my closet interest in art. on the subject one day at the beach. we can't really do here: shoot clay pi­ ming on station's like WFMR? When I thank the many artists who offer Said she: "Should I get a driver who geons, drink Old Style, watch the I've complained about their musical their talents and I thank you for pub­ comes equipped with a gun, or one Packers even though they lose, and pop (they've turned the great compo­ lishing a magazine which celebrates without?" dance to Paul Cebar and the Milwau- sitions into mush by endless repeti­ these activities. Now I go exploring! keeans. Nothing in Manhattan makes tion) the answer is "market research Jim Newhouse One lesson we have learned is that the you dance like that. shows"! How can one stretch one's East Troy taste and trends of Manhattan in the Steve Koepp When you think art supplies, think Sax! A New Brew for You! O

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DAMN TANGO tions ("Why are there wars?"; "Why Through her choice of subject matter lack of visual interest? The effect of all Theatre Tesseract are there cars?") is a bit stilted com­ Groover encapsulates the history of those pedestals and ghoul-like dolls Lincoln Center for the Arts pared with the play's earlier economy Western art: from the classical Greeks against a pink background is depress­ February 18 through March 12 of ideas. The metaphysics is best left to to modernism, realism to contempo­ ing. Can a little girl have a happy child­ The American premiere of Damn Tan­ Black Tango (Ted Tyson) and White rary kitsch. The Greeks built huge edi­ hood — or is she just being indoctrinat­ go has been hailed as an event of great Tango (Benny S. Cannon) who, as the fices upon the perfectly proportioned ed and sold out? significance, and apparently not with­ spirits who guide the soul of Juan Car­ supports of doric and ionic columns. out reason. Although the Tesseract los to the Other Side, convincingly Groover uses these columns to support The photographs of a miserable look­ players don't seem quite certain how handle some of the play's more miniature glass figurines. Flemish ing woman who looked too young to to handle this slightly offbeat piece, grandiloquent passages. In general, painters used the common utensils of go with the quotes alongside them by their ingenuous performance turned though, Damn Tango strives for imme­ everyday life to celebrate the security Deborah Generetzky were disappoint­ out to be just right, for in Damn Tango diacy where none is required. The play of ownership. Groover uses them to ing because this world is full of fasci­ the players ultimately are dominated works best when it is its most subtle, disturb the fixity of the horizontal nating older women who have life by a cool, sparse mise-en-scene and the for its meaning is spoken at the open­ plane. At the Bauhaus, Kandinsky and written all over their faces. Studies of now gentle, now relentless pulse of the ing curtain by the ominous hemiola Klee reduced the world to the basic them would not need all those words. tango. rhythm of the drum: We dance the tan­ shapes of circle, square, and triangle in All the work in the show in fact, with go. The tango dances us. one of those impossibly Utopian at­ the exception of April Atkinson's, tempts of the avant-garde to distill a The play is a loose mosaic of dance seem to have been done by women universal language. Groover uses scenes in which a deceased Don Juan Steve Wurcer trying to express and complain of cir­ these shapes to stand in for the act of type, Juan Carlos Etchepare (David (Steve Wurcer is a musician and grad­ cumstances of a previous generation. abstraction. Contemporary setup art­ Cecsarini) is kept astride the land of uate student in journalism at Mar­ It's all happening in their heads but the quette University.) ists use kitsch to poke fun at the taste­ hearts have been cut out. They are the living, remembered by his three less masses. Groover gives equal lovers, his mother, and his sister. The writing their own fairy tales without weight to gilt wood nymphs and doric reference to old women or children or remembrances of the living, legend has columns, silk flowers and the perfect it, keep a departed soul from complet­ even real grown up women who are cube. Consistently she uses objects as taking responsibility for their choices. ing the passage into the realm of the JAN GROOVER representatives of representation. Ob­ dead. Through the dreamlike fabric of March 18-April 17 jects stand in for a history of meaning. Not by coincidence then, one mother these remembrances the tormented Michael H. Lord Gallery Meyer Shapiro wrote of Cezanne's still in the group showed some work that soul of Juan Carlos wanders, prevent­ 420 E. Wisconsin Ave. lifes: "We are led to consider the had a deeper perspective. The etching ed from making the final journey. Lecture by the artist: whole as an arrangement by the artist, aquatints by April Atkinson juxta­ March 17, 6 p.m., Milwaukee Art Mu­ a pure invention." In this postmodern posed waitresses with Venus and For this production Theatre Tesseract period of artistic reflexivity, Groover seum Winged Victory. These works spoke of has enlisted director Helena Dyner- shows us that there is no purity in re­ woman's nobility and the place in man (from the play's original Warsaw Sensuous was the first word that came presentation. Everything represented which she often finds herself in this company) and also from Poland, musi­ to mind when I saw these large, subtly will connote or denote something that life. cal director Janusz Tylman, whose ex­ colored photographs. Romantic light­ has preceded it. It is bound by a mean­ cellent score, which carries us a la tan­ ing — deep shadows and subdued ing already assigned to it. This knowl­ go through love, hate, loneliness, and highlights, rich pastels with occasional edge does not plunge her into cynicism There was more statement-making death, is the backbone of the play. For outbursts of intense oranges or golds, like many of her contemporaries. In­ photography in the show by Deb here, in the underworldly kairos be­ and surfaces the viewer can almost feel stead, she embraces it with the sensual Grossfield, Cynthia Crigler, and An­ tween life and death where the play on his/her fingertips dominate the ca­ beauty of the photographic process. gela Grauman. Grauman comes closest unfolds, the tango is not just a dance; it sual glance at these still lifes. Buried Knowledge and emotion, mind and to being serious about the photos is the dance — the cosmic, beguiling beneath this beautiful exterior, how­ body are joined together on the picture themselves. They stand on their own force and form of existence. The twen­ ever, lays a world of hidden meaning. plane, inextricably interwoven. The as an exploration of the body with a ty-one dances which make up the play photographs keep giving long after the camera. Grossfield's pieces called "The Rain" and "The Crown" were serve the dual purpose of revealing Originally trained as a painter, Jan puzzle is solved. more interesting than the Rapunzel fragments of the lives and emotions of Groover began making conceptual, photos which took a potentially beau­ Juan Carlos and his intimates, and of color photographs in the early 1970s at tiful subject and stultified it in an effort building a profound framework where a time when color was considered to Cynthia Crigler not to create but to say something. the stylized passion of the tango repre­ be the amateur cousin to fine black and (Cynthia Crigler is a local artist and And that is where a show like this runs sents the grip maintained by life itself white photography. Since that time, lecturer in art at the University of Wis­ into potential trouble, because a wom­ on its helpless participants. her work has continued to grow in consin- Whitewater). an artist needs most to remember that complexity both formally and techni­ her place is to create, to give to the The Brechtian in-your-face expres- cally. In the late '70s, she turned her daughters and sons of this world new sionistic fervor and epic style that we camera to still life setups from which TAKING ISSUE/ images of a woman's strength, imagi­ have been told to expect in Damn Tan­ this current body of new work derives. GAINING GROUND nation and power. For several decades go are definitely present, but I am also Starting by photographing kitchen Union Art Gallery feminism has pointed out the problems reminded, not as much by the play's utensils in her sink, she gradually University of Wisconsin-Milwaukee women face. Surely it is time to stop method as by its subject matter, of reached this more sophisticated yet Now through March 25 looking ever backward. This show is Shaw, whose version of the Don Juan equally rigorously observed explora­ too much about making statements myth exploits the concept of freedom tion of the tabletop tableau. This invitational exhibit takes issue but and not enough about making art. by setting helter-skelter the distinction the ground it breaks is overworked al­ between heaven and hell. Damn Tan­ Tabletop photography has traditional­ ready. go taunts freedom too, albeit in a dif­ ly been used in advertising to present a Pat Hidson ferent way: It is not the heaven-hell seamless view of a small product, iso­ Cathy Cook's little videos, respective­ (Pat Hidson is a local painter and distinction, but that between life and lated in time and space, an object com­ ly titled "Girl Watcher" and "Sneak mother) death which is annihilated, this being plete in itself. Backdrop paper, softbox Re'View" underscore the viewer's ex­ accomplished through the power of lighting, and surface manipulations perience as the tune "I'm a Girl Watch­ the dance to override our earthbound (dulling sprays and paint on the object, er!" blasts repeatedly throughout the concerns. airbrushing on the photograph) are gallery and a fornicating golf ball employed to be 'not seen' in the pres­ washer sloshes in rhythm. These min­ The pace and unusual structure of the ence of a perfect image. ute-long videos fall under the category play do not permit the ordinary devel­ of personal history: ripe teen girls in a opment of characters or dramatic situ­ Groover, unrestrained by the conven­ boys' world. The go-go era. ations, but the elemental themes in tions of marketing, seems more inter­ Damn Tango are perhaps best dealt ested in the photographic event and Claire Dubinski did not need a state­ with somewhat obliquely. Juan Carlos, the ability of the view camera to ma­ ment to go with her photographic com­ ever the victim of his Don Juan-ness, nipulate space. She uses the camera's mentary on marriage to a blue collar does little but disconsolately wander unique focusing system to slice planes slob. She did not need to say that both the stage, from time to time trying to through the field of view. The objects wife and husband were at fault for grope his way back into the realm of arranged before the camera often choosing their roles, because her bride the living. The women who circum­ blend in with the same colored table- looked like an idiot. She actually scribe his memory have no function top and contrast with the background hangs herself at the end of the small other than that: they show us, through which is mottled, crumpled or marked scale soap, repeat, soap opera. their reminiscing, a little bit about Juan to emphasize its presence. The shad­ Carlos, but not much about them­ ows cast by the strong sidelighting Michal Carley wrote a two page state­ selves. command equal if not greater atten­ ment to go with her installation. It was tion than the objects themselves. dense with phrases like "juxtaposition SI nM^tt) This effective formula of evading the Sometimes the light filters through un­ and multiplicitous slippage of meaning "message" is tampered with in a some­ seen substances, projecting shadows decontextualizes the voice ... " If a what dislocated second act, where and patterns so that the light becomes project is work- and word-intensive •i\A-26? -.0779; Juan Carlos' inquiry into eternal ques­ an object itself. will it be saved from its triteness and

10 Art Muscle Previews

POETRY SLAM American paintings will be featured by by Bernice Reagon, who founded the (who will open the show) and grants March 25, 8 p.m. artists including William Merritt group 14 years ago to carry on the from the Wisconsin Arts Board, the Golden Mushroom Bar Chase, Thomas Eakins, Winslow tradition of black music. The group has National Endowment for the Arts and 1572 W. Greenfield Homer, George Inness, John Singer performed for sell-out crowds at New the Milwaukee Artists Foundation. $3 at the door Sargent and James McNeil Whistler. York's Lincoln Center, Carnegie Hall Tickets are $20, $18 and $12 and are European painters Eugene Boudin, and Madison Square Garden. available at the Pabst Box Office, 144 Most people already know that poetry Claude Monet, Camille Pissarro, Al­ E. Wells St., and all Ticketron outlets. readings tend to be less-than-robust af­ fred Sisley, and Jean Leon Gerome are The group is being brought to Milwau­ fairs. Enter the university class room. also represented. Decorative arts of kee by Colorlines Foundation for Arts Sweet Honey last performed in Mil­ A figety crowd of 10 or so blandly the period will also be shown. and Culture, Ko-Thi Dance Company waukee about three years ago. dressed individuals sits in metal chairs, The opening reception will be at 6:15 awaiting the grand entrance of the p.m. Thursday, April 7 with a lecture poet laureate. After 40 minutes of by Philippe de Montebello, director of watching the poet shuffle papers, sip the Metropolitan Museum of Art, New water and "read", the crowd provides York. The art museum has planned a polite applause or smiles, and filters full agenda of special events and lec­ out to go home and try to refine their tures to accompany the exhibition. own poems. Check the Art Muscle calendar for spe­ cifics. Japanese It's not as if no one has ever tried to change this sorry format. But, Ron Gil­ The second half of the museum's Cen­ lette has not only tried, he has over­ tennial bash will feature contemporary With the Yen stronger than the dollar, it makes sense to whelmingly succeeded, at least in Chi­ art, "1988: The World of Art Today." learn Japanese. Not many Americans know Japanese. If you did, cago, where he staged Poetry Slams This portion of the show opens May 6 you would have the advantage over your competitors. for several years. Now, on March 25, in the Journal/Lubar Galleries and will Or, you might just like to learn Japanese for fun or travel. he's going to attempt the same thing in feature work by de Kooning, Jasper Milwaukee. Johns, Frank Stella, Susan Rothen- Or, maybe you are of Japanese ancestry and want to speak the berg, Gerhard Richter, Anselm Kiefer, language your ancestors spoke. Gillette, who moved to Milwaukee Julian Schnabel, Eric Fischl, Barbara We offer all native speakers and have a warm and friendly two years ago and who edits the trade Kruger and many more, as well as the center. publication Sanitary Maintenance (se­ work of contemporary architects and riously) says that his Poetry Slams in designers. In conjunction with the Chicago were drawing crowds of up to show, Eric Fischl will present a lecture 300 and even attracted the attention of on July 28. the Wall Street Journal, who did a front page feature on the event. The Centennial Celebration is spon­ 5tar Language Center sored locally by Blunt Ellis and Loewi, A Poetry Slam, according to Gillette, is Boston Store and the law firm, Mi­ 2223 E. Capitol Dr. in Shorewood. divided into three sections. The first is chael, Best and Friedrich. The National an open mike, where anyone can get Endowment for the Humanities and Call 332-3901. Call any time! on stage and do what they want. The Milwaukee County also contributed. second section is an organized perfor­ Call 271-9508 for additional informa­ mance, this time featuring Gillette and tion. Marc Smith doing a mix of poetry and performance, and the third section is SWEET HONEY SEEKING the Slam, where judges selected from the audience evaluate and rate any IN THE ROCK NEW willing performers' readings. Winners 7:30pm April 30 receive nominal cash awards and Pabst Theater ARTISTS qualify for the semi-finals. Their music has been called "a blend of AN EMERGING pain and joy and affirmation." Sweet WISCONSIN ARTIST Gillette hopes to stage a Poetry Slam Honey in the Rock is a black vocal SPONSORED BY THE every other week, depending on the Art Sales and Rental Gallery ensemble from Washington D.C., led KAIIb response. So bring your finely honed Wustum Museum of Fine Arts words and poetic insights to the Gold­ Human Resources Consultants Free jurying for new work and artists en Mushroom for a real poetry Specializing in Personal Saturday, April 23, 1988 brawl. And Professional Development GINGRASGALLERY S CENTENNIAL Call 414-636-9177 or write to receive jurying information WILL BE EXHIBITING CELEBRATION RECENT OILS AT THE INNER RESOURCES INC. 2519 Northwestern Avenue Milwaukee Art Museum 2132 N. 49th Street COFFEE April 8 - August 28 Racine, Wisconsin 53404 Milwaukee, Wl. 53208 Beginning in April, visitors to the Mil­ Phone: (414) 871-8756 waukee Art Museum will not recog­ nize the place. As part of its Centen­ TRADEMARCH 14 - MAY 14 R nial Celebration, the museum's entire .Wustum. east entrance will be transformed into a Victorian salon to house the "1888: Frederick Layton and His World" por­ tion of the centennial show.

According to Chief Curator James Mundy, the museum is literally con­ structing a building within a building. The visitor will walk into the east en­ Qekea trance and see burgundy colored walls with ornate columns supporting an ar­ tificial ceiling. The exhibition of ap­ proximately 120 works from the late 1880s will be hung salon-style, with paintings arranged in groups, above Taglin Enterprises Presents: and below one another. The intent of ADOLPH ROSENBLATT the show is to illustrate the world of Sculpture contemporary art in the 1880s when SUZANNE ROSENBLATT Frederick Layton was busy building a Paintings/drawings collection to fill his Layton Gallery, the Opening Reception: April 10, 2-5pm predecessor of the Milwaukee Art Mu­ 3pm performance: Suzanne Rosen­ seum, which he founded in 1888. The blatt, Paul Cebar, Jesse Hauck, Ann exhibition will include work from the ' The Piano Gallery museum's permanent collection as 219 N. Milwaukee well as borrowed work from around 964-3605 for information the country. A large selection of 221 N. PATERS0N MADISON, Wl (608)255-9080 Exhibition runs through May 30

11 Ear Muscle PLANT YOUR­ By Bobby DuPah grate the ego by increasing one's con­ trol over the body/nervous system. If a schizophrenic (check with Atomic Re­ cords for spelling on that) can learn to look at himself as an outside observer SELF AT THE while teaching his body to play two Ever wonder what effect background different rhythms, and eventually go music might have on the arithmetic back inside and become the rhythm, he scores of grade school children? How may be better able to reconcile the ex­ about the role of music in a community istence of the separate selves that in­ drug abuse program? These are the habit his being. sorts of questions being asked by peo­ ple in the area of music therapy. Al­ Some scientists believe that the first though it sounds dangerously new age­ form of musical expression was a reac­ like, it's actually been around for tion to internal bodily rhythms. Rock­ SPRING! nearly 40 years or 4000 years depend­ ing and chanting in synch to the heart ing on your definition. or the natural cycle of breathing seems MAINSTAGE THEATER WHOLLY MOSES logical enough. What's interesting is a musical cabaret featuring Norman Moses the conceptual jump to the similar THE MIRACLE April 15-May 15 The idea of using music as a therapeu­ by Felipe Santander Preview. 4l14 tic device is natural enough. We all rhythmic movement seen in autistic translated by Amlin Gray administer doses to ourselves or are patients. Given this analogy, it follows April 10-May 15 STIEMKE THEATER involuntarily "treated" with the rap that enhancing the musical skills of au­ Previews: 417-419 and pop pouring out of the local tistic patients might help them evolve JUNEBUG JABB0 JONES II THE MISER by John O'Neal and Barbara Watkins "therapist's" boom box. With the ad­ as individuals - mirroring mankind's evolution. (Gee it's hard to see the ivith Steve Kent vent of the walkman our days have by Moliere, translated by Sara 0 'Connor ground from up here.) Maybe one of March 23-April 3 become one long music therapy ses­ May 22-June 26 the reasons adolescents take to music Previews: 5119-5121 sion. So what's so special about these LOOT so strongly is in an attempt to develop so called music therapists? How do byJoeOrton their egos. Ozzy Osbourne is your STACKNER CABARET they gain the insight that allows them April 9-April 24 child's psycho-therapist!? to use music to achieve specific thera­ SHUE BIZ Previews: 4i 7 & 418 peutic goals? Talking to music thera­ a comedy revue based on THE PUPPETMASTER Hypotheses and theories aside, it just Larry Shue material pists in three different settings did lit­ OF LODZ tle to clarify things. Reading through makes sense to use music in these March 5-April 3 by Gilles Segal > translated by Sara O'Connor volumes of the Journal of Music Ther­ ways. David soothed Saul with his apy left me even more confused. May­ harp, medicine men use chants and April 30-May 15 Previews: 4128 & 4129 be musicians weren't meant to verbal­ rhythmic pounding to exorcise devils ize the secrets of their alchemy, from fellow tribesman. Greek philos­ CALL 224-9490 FOR TICKET INFORMATION [thanks Steve] ophers believed that music's influence 108 East Wells Street on man was due to certain mathemat­ Actually, some of the principles behind ical combinations which are measur­ music therapy are fairly straightfor­ able and do not depend on human in­ ward. In the case of the emotionally terpretation. Maybe the over 2000 disturbed, group sessions in which mu­ registered and certified music thera­ pists are just ahead of their time - or behind it. With over 50 music therapy programs in Milwaukee and southeast Wisconsin alone, it's working - who cares how or why? •***<

EXPRESS YOURSELF WITH

sic is either played or listened to to­ custom mad© to your imagination! gether provides a common ground through which the otherwise anti-so­ Custom made cial individual can learn to participate with others. On a one to one level, neon art and communication skills can be devel­ signs oped in physically and/or mentally handicapped patients. Often it is the Located in the lack of these skills that in turn hinders Mayfair Mall - upper emotional growth. We learn a lot level, Milwaukee about ourselves through interaction with others. Music is natural. It's un­ 1-763-7136 -office connected with the intellectual and so­ cial deficiencies which block most communication. In the same way, mu­ sic provides a common bond and re­ German laxes some of the tensions that exist between "normal" people in bars. The mutual enjoyment and for the truly ris­ que, mutual movement (sometimes German is a key language in called dancing) provide a perfect bridge between strangers whose inhi­ Europe. Key for business, bitions have already been diluted by the barman/pharmacist. travel and culture. We have all native speakers. Come Beyond its attempt to alter interper­ sonal relationships, music therapy con­ learn German with us! centrates on intrapersonal behavior as well. (This is the part of the column where things get pretty heady - go get a cup of coffee). 5tar Language Center Eurhythmies was around long before the pop group. Developed in the 1950s, this form of music therapy in­ volves teaching someone to keep dif­ 2223 £. Capitol Dr. in Shorewood :; •: SSCMNG UGUT m. or vmm OASINE. . • rM ferent rhythms with various parts of Call 332-3901. *« the body. The idea here is to help inte-

12 Art Muscle National Campus Film Network's D REAMIlNriLMPERIES SOPHISTI-KIDS At the University of Wisconsin-Milwaukee presents MARCH/APRIL PIX AT THE FLICKS

March 30 & 31, Wed/Thurs: "Place Of Weeping", Milwaukee Premiere! The first film about the South African Struggle made by South Africans. 7:30 & 9:30 PM, ad­ mission: $2 UWM Students/$2.50 General, rated PG.

April 6 & 7, Wed/Thurs: Spike Lee's "She's Gotta Have It!" Comedy from the director of "School Daze", 7:30 & 9:30 PM, admission: $2 UWM Students/$2.50 Gener­ al, rated R.

April 13 & 14, Wed/Thurs: "The Beat Generation", Milwaukee Premiere! Documentary featuring appearances by writers/poets/musicians of this volatile period in our American culture. Hosted by Steve Allen, featuring: Allen Ginsberg, William Bur­ roughs, Timothy Leary, Jack Kerouac, and more. 7:30 & 9:30 PM, admission: $2 UWM Students/$2.50 General, not rated.

April 20 & 21, Wed/Thurs: Laurie Anderson's "Home Of the Brave", perform­ ance art hits the big screen. Special appearance by William Burroughs. 7:30 & 9:30 PM, admission: $2 UWM Students/$250 General, rated R.

April 27 & 28, Wed/Thurs: David Lynch's "Blue Velvet", bizarre cult favorite BRADY STREET PHARMACY featuring Dennis Hopper and Isabella Rossellini. Anyone dressed in blue velvet gets in [or More than a pharmacy, a gathering place V2 price! 7:30 & 10 PM, admission: $1 UWM Students/$150 General, rated R.

April 29,30 & May 1, Fri/Sat/Sun: "I Was a Teenage Zombie", they were young, reckless, and in love. And then ... they were dead, young, reckless, and in love. Bi­ Open 7:00 a.m. - 8:00 p.m./Mon.-Fri. zarre comedy/horror featuring tunes by our very own "Violent Femmes" and the "Del 8:00 a.m. - 8:00 p.m./Sat. & Sun. Fuegos", "Smithereens", "Los Lobos", etc! Fri/Sat: 7:30, 9:45 PM & 12 Midnight, Sun: 7:30 & 9:45 PM only, admission: $1 UWM Students/$150 General, not rated. Corner Astor & Brady 272-4384 All films are shown at the Sandburg Flicks Theatre located in the Sandburg Halls Residence Towers 3400 N. Maryland Ave. (Corner of Hartford & Maryland Aves.) For more info on our films or other activities caii our 24 Hour Info Line at: 229-6569. Neither this ad or the events contained within were paid for by taxpayers monies. COFFEE SHOP COFFEE SHOP COF SUBSC

name 6 bi-monthly issues for $12 address Special Friend of Art Muscle subscription - $50 - for city five years and name on masthead state, zip

send check or money order to: Art Muscle P.O. Box 93219 Milwaukee, Wl 53203

SUSAN Marble Sculptures FALKMAN April 9 -May 11, 1988 Spider Veins The TOTALLY NEW PLAY Returning From Sold-Out Houses In Sweden & Germany Disappear Television Porno-Farce Shock Repression Impulse de Sade Spiritual Glee Morality Image A simple, painless medical Mass-market Luxurious Repulsion Encounter Fantasy procedure for the permanent Victorian Performing Boredom Perversity Permissive Campy Foucault Enlightenment Ideas Obsessive^ removal of broken capillaries Intense Virgin Dreams Dressed Interpersonal (commonly called "spider Tragic Androgyne Decadence Undressed Individual veins") that appear on the legs or face. A HISTORY OF

For more information and w. appointments call 222-3404 Opening Late April THEATRE X 278-0555 Capillary Vein Center j ROLIDOR A MONONA GROVE CLINIC 5001 MONONA DRIVE DAVID BARNETT GALLERY MADISON Wl 53716 1024 E. State at Prospect Ave. Milwaukee, Wl 53202 271-5058 13 Beyond Video Clone

By Julia Romanski but which I'm sure won't surprise any­ body. No, but seriously. And that's the hard part. It's almost inconceivable (Beyond Video-Clone is a new column that these people take themselves seri­ that will review rentable videos that ously, and therein lies the danger. The are worth seeing. Columnist Julia Ro­ naive but ferocious belief they hold in manski is a Milwaukee writer, who is their own power creates a nasty under­ currently working on a screenplay. current which seeps through the docu­ She is an avid video-hound, consum­ mentary and reminds us that we're ing a minimum of 10 videos a week on watching and listening to real human her two VCRs.) beings, not cartoon characters. What they are seems ridiculous, but how The down side of the current video they relate to it is less than funny. reincarnation is that all the crap you avoided seeing in theaters is back with a vengeance. It's back in spades. All The documentary is composed of the mediocre formula flicks ever many interviews with California Party filmed rise from the dead; slashers, Members, with no over-narration by ball-builders, I-am-Woman-Hear-Me- the filmmakers, and none is needed, Roar films, 'deep' rural films, 'yuman it's true. This is worthwhile viewing condition' films. 'Black man White for we in the land of Posse Comitatus, man be cleanin' up this filthy world' not only for Our Lady of the Cake, but films. Aak. You who may actually hun­ also to see and hear Wayne Raymond ger for interesting movies are at the Klaus Maria Brandauer in "Lightship. of Tracy, California, asking "How mercy of your memory while picking many small towns, like us here in Tra­ through those little white rental cards. cy, can say that THEY have a Nazi Inevitably, some guano sneaks in Party?" Get real, people. among your choices. It's the clueless gnarly video-clone. And, sadly, there could turn off the picture and listen and Eddie (Arliss Howard). About the But be warned, this is grim material. you are, sitting through 'Some Killin (listen carefully) to the soundtrack and brothers, it's enough to quote Dr. Cas­ Even Skinner would be impressed by Guy: The Movie,' instead of something probably imagine the rest. The story is bury, who explains to the Captain that how thoroughly these people condi­ good. excellent and the movie is shot in a "when Eddie's parents had him they clean, tense style, without any cine­ thought they'd better try again, and tion their children. Also, the apparent matic preening. Klaus Maria Bran­ when Eugene was born they knew it semi-illiteracy of some of the persons The up-side of video reincarnation is dauer plays Captain Miller, the Ger­ was best to give up." interviewed is depressing. Some of that so much more than standard man captain of a U.S. Coastguard them are former U.S. Marines, and smarm has also been given another lightship. Anchored to the ocean floor What happens from this point on I some are former prisoners, and all of crack at life on the screen. It goes with­ some 10 miles off the coast of Norfolk, won't say. Only that there are nine them have pictures of Hitler hanging in out saying that a fair number of nation­ Virginia, the ship lights the reefs for men on the lightship and one strange their homes. The sheer weight of their ally released movies never make it to miles, marking clear passage for other large bird, and four of the nine intend racism is incredible, but not so much as Milwaukee. Some of them never make vessels. The ship never moves. It stays to leave the ship, and one of the nine is their certainty of the validity and it past test-screening in Los Angeles. tethered to the earth, manned by a intends to master a damning memory. necessity of such prejudice. In a way, Some never make it to a test screening, crew of five, isolated (except by Video Visions in the Prospect Mall has these people seem too dumb to know period. Many movies survive the box shortwave) from the rest of the world. three rental copies, 2 VHS, 1 BETA. any better, but conversely, they may office for one week, then die. Others also be too dumb to know when to frighten critics. What were they? The story, set 10 years after the end of THE CALIFORNIA REICH, Docu­ quit. In the end, it becomes too easy When were they? Where are they? (and almost inevitable) to react to the Second World War, begins with the mentary, Directed and filmed by Wal­ They're beyond video-clone, and I them on their own level, and it's that Captain's son, Alex, coming aboard ter Parkes and Keith F. Critchlow, spend a lot of time trying to find them, realization which makes The Califor­ the ship to serve a sort of detention. 1974, VHS only. and as I do, I'll pass these discoveries The kid (played by almost inhumanly nia Reich a powerful documentary. on, right here, in this column. attractive newcomer Michael Lyndon) This excellent 55-minute documentary has a real problem communicating on the National Socialist White Peo­ LIGHTSHIP, Director: Jerzy Skoli- with his dad. The lightship is the last ple's Party (just call them Nazis) is a Lastly, to all of you who assumed (un­ mowski, with Klaus Maria Brandauer, place on earth he wants to be. So natu­ real sting-me little item. I don't know derstandably, based on the marketing Robert Duvall and William Forsythe, rally, when three men are rescued about you, but I feel just a little bit of it) that ROBOCOP was one to pass 1987, CBS Productions. Filmed off the from their stalled motor boat and more aware after watching demure on, it's now available on video. I rec­ Island of Sylt, Federal Republic of brought on board to wait while the Mrs. Stormtrooper Housewife bake ommend it. It's a terrific action flick Germany and spoken in English (not crew repairs their boat, he thinks his that lovely swastika cake for the San with a snide social commentary weav­ dubbed). trip ticket has arrived .... Francisco Party's celebration of Hit­ ing in and out of the maybe conven­ ler's birthday. She's just so dedicated tional, maybe not so conventional Take a look at this movie. It's worth it The three stranded men are col­ to that cake, to her red food coloring plot. Peter Weller (ROBOCOP) proves for several reasons. The ensemble act­ leagues. Dr. Calvin Casbury (I guaran­ and her melted licorice, to smoothing just how well an actor can convey ing is consistent, really good and some­ tee this role brings out a VERY differ­ the frosting "so there's no wrinkles in emotion when all you can see is his times stunning. The screenplay is ent side of Robert Duvall) heads the it." Likewise hearing the cute little mouth, while Paul McCrane (dead- sharp. Neither superficial swill, nor weird trio, which is completed by the song sung by Otis and the Three Big­ beat) makes the definitive statement lame obscurity, this script is direct. You brothers Eugene (William Forsythe) ots, the title of which I balk at saying, on the dangers of toxic waste. *&*

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14 Art Muscle INFINITELY DIVINE HARRIS GLENN NILSTEAD 1 945°° 1 988

15 Come, meet the "Last Emperor" on our front door

: T ^ SPRING EXHIBITIONS •.v:-V x.v.

N I O N R T A L L E R Y E N W O O D N N R T

UW-Milwaukee Union FIRST FLOOR UW-Milwaukee Union THIRD FLOOR TAKING ISSUE/ BREAKING GROUND ii % GAINING GROUND An invitational exhibition comprised An invitational exhibition comprised of work by women studying art at the of work by women which spans University of Wisconsin- Milwaukee. several critical areas, among them, March 6-April 8,1988 Chinese Restaurant the preservation and recording of personal history, feminist/political 1010 EAST BRADY, MILWAUKEE, Wl 53202 concerns and social criticism. SHIFTING GEARS (414)271-8889 An invitational exhibition comprised February 22 - March 25,1988 of work by men studying art at the Exotic tastes e Fancy drinks • Carry outs University of Wisconsin- Milwaukee. DECONSTRUCTION: April 10-May 13,1988 Alternatives for the Present Opening Reception: Sun., Apr. 10 An invitational exhibition comprised 4:00-7:00 pm of work by men who take a critical look at historical stereotypes and THE SUBCONSCIOUS HARRY W. SCHWARTZ offer alternatives for the present. REALIZED April 6-May 13,1988 An exhibition of photographs by B 0 0 K S H 0 P S Opening Reception: Friday, Apr. 8 Claire Dubinski combining images 7:30-10:00 pm and text to address contradictions between the subconscious and pre­ The Anniversary conceived reality. WHERE Performance piece held in conjunc­ May 15 - June 10,1988 tion with the exhibition. Opening Reception: Sun., May 15 IDEAS April 22 & 23, 8:00 pm 4:00-7:00 pm AND PROCESSES Great PEOPLE A juried exhibition of work by Gift students at the University of Ideas 'tftyJVN- MEET Wisconsin - Milwaukee. - ORIGINAL AFFOS0ABU ART Jewelry, Ceramics, Photography, Prints, May 27-July 1,1988 Cards, Weavings, and more. Opening Reception: Fri., May 27 7:30-10:00 pm Located in the Union Art Gallery. For more information & gallery hours, contact: Jane Nicholson Director Union Art Gallery since 1927 (414)229-6310 Korean

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16 Art Muscle Linear B

By Kelli Peduzzi

MILWAUKEE STAGES: in October. Script guidelines: Cast, 7 TWO BOARDS AND A PASSION maximum; Scope, producible on mod­ 1888 est budget; Running Time, 1 hour Milwaukee Chamber Theater The maximum; Newness, can't have been main character in Brian Friel's Faith staged before; Re-Submissions, no, un­ FREDERICK LAYTON Healer laments "the maddening ques­ less it's major re-write; Quantity, two tions which undermined my life," for maximum. ("Send your two best," he heals without knowing the source of says Ted.) Box Office: 272-3043. his powers. It is the story of an Irish AND HIS WORLD faith healer, his cockney agent and his lawyer wife, and their adventures And Waiting in the Wings ... April 8 - August 28 traipsing through the countryside. The "Mortified" by the absence of peace­ three actors - William Leach in the title ful dissent against what he believes is • —L role, Ruth Schudson as the wife, and pervasive spying on Americans by our Montgomery Davis as the agent - have own intelligence agencies, David Rom­ collaborated in directing this spare, en­ mel, a 30 year old actor/director/ 1988 veloping drama written in the mid- playwright, has written Plausible De­ 1970s. nial. The play is a suspense drama about two American reporters who THE WORLD Davis, Chamber Theater's artistic di­ unknowingly and accidentally film a rector, notes the play resonates of political assassination in South Africa, Macbeth, for it uses wordplay and in­ and whose lives are endangered when cantations to achieve an air of "sympa­ they become targets of a CIA cover-up OF ART TODAY thetic magic." Davis chose Faith Heal­ of the killing. er because it represents for him the May 6 - August 28 essence of drama - a challenge to ex­ Rommel, a Kenosha native now living plore the inner self through the power in Chicago, conceived of the play after of language in a controlled environ­ reading the CIA's Manual of Psycho­ Celebrate a century of art: ment: the play is a series of interwoven logical Operations in Guerrilla War­ monologues. Sets and costumes are fare, (Vintage Specials, Random Thursday, April 7 minimal. House). He was struck by the policy of 'plausible denial' in overseas covert 1888 exhibition opening Faith Healer is about one very ordi­ operations in which hired intelligence nary man's partnership with the mys­ jobbers disavow any government con­ terious, about living in the nebulous nection if their activity is discovered. world between cause and effect. The "What's to stop them (the CIA) from play is a stark view of the economically using this principle at home?" he says, Sunday, April 10 depressed towns of Wales, Scotland which he asserts it does. Salute to the Arts (free day)* and Ireland where ancient voices still speak and faith healing is still practiced Rommel, who admits he's been ac­ by those for whom belief has the same cused of paranoia by some of his power as medicine. friends, wrote the play to "question the rhetoric surrounding people's sup­ Thursday, May 5 For Chamber Theater tickets, call Sky­ posed civil liberties. Not to question it 1988 exhibition opening light Theater box office: 271-8815. is naivete, nay, ignorance." He located The play runs March 4-20. the play in South Africa because per­ sonal freedoms are so obviously with­ held there, and he was able to reflect Clavis Theater America's tacit approval of apartheid Sunday, May 8 "Something about a smorgasbord is in its practice of domestic spying. more festive than a sit-down dinner," 100th Birthday Party (free day)* says Ted Altschuler, program director Rommel received a $750 matching of Clavis Theater, and artistic director grant from the Wisconsin Arts Board of Milwaukee's Third Annual One-Act in 1987 to produce a public reading of Also, noon-hour Business Festival. This year, the One-Act Festi­ the script. (Readers might have seen a val, which runs May 4-22, will stage preliminary reading at last year's Mil­ of Art lunches, films, five plays, each with its own director. waukee Book Festival.) Howard and tours, lectures, parties. Road To The Graveyard by Horton Pegi Taylor, owners of Webster's Foote (screenwriter of Trip To Bounti­ Books, matched the $750, and Para­ For more information call 271-9508. ful and To Kill a Mockingbird), and dox Theater slated production for late Slam! by Jane Nixon Willis, are two of this spring. As of this writing, however, the plays slated for production thus far. Paradox's commitment to the play is Also, in keeping with its mission to uncertain due to the theater's change Sponsorship is provided by Blunt Ellis & Loewi bring challenging theater to Milwau­ in management, and Rommel is await­ Incorporated, Boston Store, and Michael, ing their word on whether to begin Best & Friedrich. 1888: Frederick Layton kee, Clavis premiers one new work at and His World is supported by the the festival each year. (A record 250 searching for a new Milwaukee venue. National Endowment for Humanities. scripts were received this year from ("I owe much of my artistic develop­ American and Canadian playwrights. ment to Milwaukee theater," he says Only one will be staged.) of his determination to stage the play Tree day courtesy of Milwaukee County. here.) The appeal of one-acts is how naturally the genre lends itself to risk-taking and The explosive subject, he believes, experimentation. The pressure to should make the play commercially "succeed" doesn't exist in the same viable. "Stylistically, it's very theatri­ way as with full-scale plays. "One-acts cal. The actors actually work in the • are a study ground," says Altschuler. audience, which won't be sitting in £ "You can't waste words. There's no seats, but be moving about with the room to indulge in developing the performers." Rommel wants to stage it idea. The stricter limits force one-acts this way "because we want the audi­ to be more creative." Slam!, for in­ ence's perspective to be from within 1 stance, is a 15 minute play about two the play. It's impact is in how it impli­ boys in the men's room of a Bowery cates the audience, how it makes them bar on a Tuesday night. "Willis has reach a conclusion about the situation. caught the way adolescent boys talk to The audience is in the midst of this each other," Ted observes. This inten­ nightmarish setting. Divisions between sity allows viewers to immerse them­ them and the performers start to dis­ h selves immediately in a one-act's "lit­ solve." It is, he says, as though they tle world." awaken in a dream, only the dream is really happening. •»&* Plans for next year's festival, including a musical, are already underway. Cla­ vis begins accepting script submissions I l IN II K E E AIII M II S E II 750 N. Lincoln Memorial Dr. • Milwaukee, Wl 53202 • (414) 271-9508

17 "The whisper of frothv white gowns still echoes for the debutantes of this season's charity hall." Milwaukee Journal, Women's Sections: Society, Clubs, Art, Fashion, December 28, 1947.

The 64th annual Service Club Charity Ball was held on Tuesday, December 29, 1987, at the Milwaukee Auditorium. The ball, a victorian tradition, had its C51EB BALL beginnings in Milwaukee in the 1920s with only a few young women "coming out" each season. In the 1980s, an average of 50 young women, all college freshmen, have been presented to society by their fathers before an audience of 1,300 in this spectacle of shimmering "Whether she is presented at a big ball or a small private white gowns and spotlights. (This year's dance, the debutante's dress is white and cut on conser­ Deb Ball was historic in that it featured vative lines. She should remember that she is 'on display' the first black debutante in the history of and her manners should be correct, her grooming per­ the hall). After each young woman's fect." Elinor Ames, Etiquette for Moderns, 1965. name is announced, she "bows," descends the stairs and joins her father for the grand inarch. She then waltzes with him to "Fascination" played by Tony "Music at its Finest" Werth.

One of the debs had this remark about knowing how to waltz, "We fake it, von pretend like you do."

In 1910, the charter members of the Service Club of Milwaukee set out to "emulate Christ" in rendering any service in their power to those about them and, as far as possible, to seek out those who needed their assistance. Today, members of the Service Club are required to perform 50 hours of volunteer work and sell $600 worth of advertising for the Charity Ball Program in order to participate in the ball. Suzy Boerke, Service Club publicist said, "They're probably thinking 'I didn't know volunteer work was going to get me into this.' They really are interested in the volunteer work and they don't think about this night until it comes. They really work hard . .. They have group projects where they bake cookies for elderly homes and sign Christmas cards for needy families

"As mass debuts these days are charity affairs with the debutante's family making a contribution, they do serve a useful purpose besides giving a girl a chance to wear a beautiful dress — usually white and diaphanous, though pastel colors are often permitted by the committee. Substantial expenditures for flowers, food, wine, liquors, music, invitations and other things required for ceremonious presentation are important factors in the continuance of the debut. There is even the suggestion that the debut as a status symbol has value to the fathers — business and professional men Photographs and Text by who pay all these expenses." Amy J. Shimon & J. Lindemann Vanderbilt's New Complete Book ol Etiquette: The Guide to Gracious Living, 1963.

"If it is what her friends do, if she enjoys formal dances, if her parents can afford it and the charity that benefits is worthwhile, I see no reason for criticizing the debutante." Elinor Ames, Etiquette for Moderns, 1965.

"It looks as if the formal debut, like the formal wedding, remains a dream that well may become a reality for any girl whose family has the price and ambition to so launch her." Amy Vanderbilt's New Complete Book of Etiquette: The Guide to Gracious Living, 1963. •«•<

18 Art Muscle 19 e e

By Mark Anderson PERFO RMANCE FUTURES

aving recently found myself addressing the 'What-is-performance-art' ques­ concert of music and minimal choreography Brewer's Opening Day tion a few too many times, I am once was more than worth the highway time be­ Baseball, a minimalist time-based art form, re­ again pondering the problem with labels. tween home and the Madison Art Center. turns to County Stadium (P.A.C. West) for an­ other season of subtleties on April 15. Al­ And then there's the out of the area stuff that though this ensemble is overpaid (can you While I realize the value in some of these p. art perhaps you didn't see or read about. Well, I imagine Feme Caulker-Bronson settling for discussions — to make sense of the term for saw some of it, and I'm going to draw a picture $760,000 plus incentives?), they do manage to those in the dark (not a bad place to be), and to of it, if I can. produce some genuine effort and create stun­ make sense of some of the activities which, ning moments of structured improvisation. rightly or wrongly go by that name — at some In February, I spent a week in New York, at­ point the hounds must be called back, having tending a pile of performances. One big part of Philip Glass Ensemble spent too much time down the wrong bloody that pile was the annual Performance Space April 16, Philip Glass will be at the Pabst The­ trail. Too often, the thing seen and your seeing 122 (P.S. 122) Benefit, which took place over ater. The selections for the concert haven't of it is lost in the effort to contain it inside the three nights, with two shows each night, eight been announced, but whatever it is will be well- right words. to 12 acts each show, making a total of over 60 amplified, crisp and transcendent — if you like different performances. There were readings, his music, and I do. If the acoustics are at all You expect it to be dance, but they're only standup comedy, solo dance, monologues, film, good at the Pabst, buy the cheap tickets. You walking. They start talking and it must be the­ music, theater and combinations thereof. The only need to listen. ater, maybe it's a lecture. You laugh, so it must performers are all part of the community that be comedy. You are told to write to congress, supports P.S. 122, often in the audience or in Thunder Thighs and it must be political, and is probably serious. front of it, and all of the work was donated. The Thunder Thigh Review in Women of Sub­ "P.S. 122" is the name of a former NYC school stance will be performed April 22 and 23 at And when it's finished and you feel obligated to building at the corner of Ninth Street and First Walkers Point Center for the Arts (672-arts). brandish an opinion, you might not find those Avenue, which now functions as a community "New vaudeville" style p. art from Baltimore's terms able to accommodate your amorphous center with public meeting rooms, a daycare Joyce Scott and Kay Lawal, built around being experience. If you can't describe it in words you center, artists' studios, the offices of Mabou unafraid of being fat in a "think thin" world is might sound stupid, so you decide to say, "It Mines Theater Company, and P.S. 122, which what this performance is billed as. WPCA tends was weird." "I hate art." inhabits parts of two floors, with offices and to overstate their own importance and over- two performance spaces. This is one of the most hype their artists (by the way, if you ever catch My purpose then in writing this column is not to vital breeding grounds for new performance me using the term "cutting-edge" without quo­ spend too much time deciding what is and isn't work in NY, and its effect extends beyond that. tation marks, slap me), but oh I guess it's good p.art; rather it is to encourage enjoyment of the that they are presenting performances, in addi­ audience experience — of the engagement with In regards to the next two months of life in tion to the wall art. the thing seen, heard, felt — even if you don't Milwaukee and the near vicinity, what follows know its name. You can always point to it. are some highlights of upcoming performances Theatre X and activities that might be worth your atten­ Theatre X is back from Sweden, Germany and Toward that end, I will point in the direction of tion. Seattle with A History of Sexuality, directed by upcoming performances in the neighborhood David Schweizer, performed by the company, of whatever sort, to suggest that you investi­ IPAAW with the addition of Seattle actor John Billings- gate the live arts a bit more (if it's affordable, of The Independent Performing Artists Alliance ley. The performances will begin April 29-ish. course). I will also look back at things I've seen of Wisconsin (let's shorten that to IPAAW) is All I want to say is that this will be totally unlike that deserve to live forever, attempting to having a benefit bash on March 19 at Clavis something they did last year with a similar title. translate bright moments into inky words. Theater, starting at 8 p.m. Part of the evening's agenda call for finding a new name for IPAAW Wild Space's Choreo-graffiti, which took place (for obvious reasons). There will also be perfor­ in the Alverno College gymnasium in Decem­ mances by Teri Carter, Alexa Hollywood, Joan ber was a lush flow of moments, mixing chore­ Gonwa, Diane VanDerhei, Cate Deicher, Deb David Van Tieghem ography and movement-based theatrics with a Loewen, Lynn Gilliam and Mark Anderson. (I soundscore comprised of music, sound-effects, perform at benefits, I buy tickets for benefits, in fragments and repetition, and with a strong do what I do, give your support!) visual sense, using lighting, composition and staging in that big place, on that pretty, wooden Gropp gymnasium floor. Debra Loewen is a very Gropp, an R&B opera written by Milwaukee's strong artist, working with a good company of Pete Christensen, based on the life of Father dancers. James Groppi, will feature 11 local bands, each writing one song for the show. The opera will Feme Caulker-Bronson's Ko-Thi Dance Com­ debut March 24 at the Jewish Community Cen­ pany performed Juba and Harvest at the third ter, with musical direction by Brad Dorn, Kuumba Festival of African Dance and Music, Carter Hunneycut as Groppi and John Noonan held in UWM's Fine Arts Theater in February. as Henry Maier. Both pieces were, in a certain sense, based on contemporary choreography of traditional Af­ Election Day Solo Percussion Theater Performance by Da­ rican dance, with the inclusion of live music and Your chance for a big audience-participation ex­ vid Van Tieghem, a New York percussionist drumming necessary to the dancing. But each ercise. Free. who, in addition to his own compositions, per­ piece went way beyond the separate elements formances, video/film work and recordings of dance, music and theater to make a whole ("These Things Happen" and a new album on thing — tying the past and present together as it Southern Exposure the way) has worked with most of the p.art tied the audience and performers together. It Southern Exposure will be a dance concert by /dance roster, including David Byrne, Twyla told stories and it made stories. In a way, it had Debra Loewen and Wild Space Dance Com­ Tharp, Wendy Perron and Laurie Anderson nothing to do with art, in that it was not a thing pany April 15-17 at Alverno College's Pittman ("Big Science" through "Home of the Brave" out of context, separate from life. It made its Theater. If you missed Choreo-graffiti in the on the records, in performance, on film). He own context, and it made life. Alverno gym in Decerriber, you really missed plays around with percussion using a table-full something. This will be the company's third of curious noisemakers, striking them with an Other excitements in the neighborhood have major concert in its short life, featuring two equally creative array of stick-things. In addi­ come in from out of town, such as the Anita new works, plus the "Weill Suite" from their tion to the music, he dances and makes funny. Feldman dance concert at Alverno in January, first concert (April 1987), excerpts from I've seen him and will gladly see him again on which was a beautiful blend of tap and contem­ Choreo-graffiti, and a new work-in-progress by May 6 and 7 at the Milwaukee Art Museum porary choreography. Meredith Monk's recent Cate Deicher. Go. (271-9508 for more info.). -**<

20 Art Muscle H. Turner Slocum BOX open reception Saturday LUNCHES March 26,1988 TO GO 6:00 to 9:00 pm On Display Craving a delicious salad or through sandwich, but can't get away for April 15, 1988 lunch? Tera Rouge Oakland Cafe is pleased to offer box Designer Galleria lunches for your business meetings, 225 E. St. Paul Ste. 404 sales conferences, retirement and Milwaukee, Wl 53202 birthday parties, or any special (414) 291-0202 occasion. And we will deliver your Hrs. T-TH 10-8 Fri 3-8 Sat 70-5 lunches with orders of 10 or more. Please call us A at 332-5440 for more / \_mformation. DANCE INTO SPRING

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21 By John Gruenwald Photographs by Francis Ford

This article deals with four artists who have paintings he's preparing for an exhibition of managed to generate substantial incomes from realism at UWM. John Colt is organizing the their art work outside of Milwaukee. These show which will also include work by Tom Ut­ artists aren't even very well known here. Yet, tech, James McGarrell and Ed Paschke. Nichols Bill Nichols, for example, a painting teacher at has no Milwaukee gallery and this will be one of the University of Wisconsin-Milwaukee, sells the first occasions that a number of his paintings his paintings for about $27,000 a piece in New will be seen here. York. Tom Uttech, who is probably more famil­ iar to the local art crowd, sells his large can­ "I've really put out for this show," Nichols said. vases for $18,000 in New York. Paul Caster, a "I tried to do the best work I could because it's teacher at Milwaukee Institute of Art and De­ the first time I've really had the opportunity to sign, has a responsive audience for his work in do something here." Chicago. In Milwaukee he doesn't even have gallery representation. Ruth Kjaer has her The paintings require three to four weeks to paintings in seven galleries across the country, finish so the yearly output is limited. Generally as well as in Milwaukee. the works travel to New York where the large canvases sell for $27,000. Recently, Nichols These four artists have achieved their success sold a major piece to First Wisconsin. "I was by quietly pursuing consistent styles. They are thrilled that I finally had something that was all mid-career artists who have been on the purchased in my hometown," he said. same track in their work for many years. I went to each of their studios, collected information "When I came out of Chicago there was only on their success, talked to them about their art one kind of work you could do. That was Sur­ and asked them questions such as: Why do you realism, with a funk twist or edge. I came out of stay in Milwaukee? Is there any bitterness that Chicago tradition. I had done that tough, about not having success come from your gritty kind of painting for a hell of a long time hometown? And since in all four cases, their and yet I would constantly find myself going to artistic success has come from an honesty the Art Institute where the landscape paintings about their personal convictions and not from of the Impressionists were. I began to realize following an art fashion or trend,! asked them that those paintings were really important to how they feel about contemporary art. Saa me. I began doing work like this because years ago I realized I was sort of a closet admirer of Impressionist painting.

"What I liked about coming to Milwaukee was having the opportunity to breathe. I could be­ gin to find my own personal direction. Milwau­ kee is a great place if you want to find your own WHO SELL way. It's easier now than it used to be to show in New York and not have to live there."

I asked Nichols if he felt bitter that he was more OUTSIDE THE CITY successful out of his hometown.

"Part of it is my own making. I just have not had enough work to really do anything here. It does seem to happen though that you aren't recognized in your own town. It seems that if

Bill Nichols it's not done somewhere else, it isn't serious. If something comes out locally it can't be that Bill Nichols good. Bill Nichols is 46 years old and he grew up in Chicago. He received his BFA from the School Nichols' early canvases were done in acrylic of the Art Institute of Chicago and then attend­ and the paint was handled much like waterco- ed the Slade School of Art in London as a Ful- lor. The new works are painted in oil and I was bright-Hayes Scholar. A f ter receiving his MEA very taken with the complexity of the surface from the University of Illinois-Urbana, he re­ and the intensity of the color. There is the as­ turned to London for post graduate work. pect of viewing the work from a distance, where the image reads photographically, and Nichols has had work included in numerous also of viewing the work at close range, where group shows, many focusing on contemporary due to the scale, the sensuality of the paint American realism and landscape painting. His dominates. This is one aspect, Nichols feels, work has been shown at the Butler Institute of which separates him from other photo realists American Art, San Francisco Museum of Mod­ who mask any trace of brush stroke. ern Art, Springfield Art Museum, Milwaukee Art Museum, Taft Museum and many more. Galleries in Chicago, Houston, Palm Beach and "I believe my success has to come from my Los Angeles have carried his work. opinion of what I'm doing and the testimony to that is that I come to the studio and work." His solo exhibitions began with a show at UWM in 1975. In 1979, he had his first solo show with OK Harris Works of Art in New York City and The paintings have an accessibility to a wide he since has had five solo shows there. OK spectrum of people. "Someone said that Monet Harris is run by Ivan Karp, who was Leo Castel- had a quiet 'yes' to life, that his paintings were li's right hand man from 1959-1969. Together optimistic. They talked about the good things in they helped bring many of the major Pop artists life. I like that in Impressionist painting — it's a to light including Warhol, Lichtenstein and Ro- real uplifting thing for me. I find myself infatu­ senquist. ated with that kind of vehicle of the landscape — to reveal nice times and the beauty of things. Nichols was finishing a large canvas (6x9 feet) In a funny way though, I feel more isolated with when I visited his studio. It was one of five this kind of image."

22 Art Muscle Which brought us around to current art trends: Caster is bothered about not having a buying her first showing with Dorothy Bradley Gallery "That rough kind of painting is a very youthful audience in the city but added: in Milwaukee. She continues to exhibit with attitude. That's the kind of thing you go Bradley and will have a solo show there in through. You feel like if you are doing what's "There is something about ego and getting the October. Her list of two-person and group being done now, then you are someone who is grand recognition — I know that's in me, but shows is too extensive to list — from Posner really at the cutting edge of art. You're really at it's been beaten down enough that I'm trying Gallery in Milwaukee to the APSA Galleries, the cutting edge when you first do it, for exam­ finally to find that success is a value placed on Port-au-Prince, Haiti. The list of corporate col­ ple, producing rough painting in the early where you work and what you're working on. lections she's in dwarfs any other I've seen. 1970s. The train has already left the station as That succeeds, that should be enough. I'm far as most of that work is concerned. Having lucky. Success can't be measured by these Kjaer and I worked on a print together in 1980. the idea and finding the form for it is a very showing things. There's something neat about At that point her work was selling well. I complicated thing and you're lucky if it hap­ working here and not showing here. You don't thought it best to come to her studio to familiar­ pens. It means you've made a discovery. Every­ feel pressure. You don't have people bothering ize myself with her current work. She told me one wants to bare their soul and feels they have you. That's a nice thing. Just participating as an to come within the week or the paintings she something to say. The question is how do you artist and as a person and doing the best you had would be gone. I had the distinct feeling find the form or a new way of doing it? That's can. There's an element of luck involved in all that it was hard for her to keep paintings in her not an easy commodity to come by. I mean how this and if it doesn't come your way you cannot studio for too long before they were sold. She many times do you find a cure for polio? And shut down because of it." assured me that it wasn't quite like that. then when you do find something that is both One time, however, when Kjaer was showing your form and your image it's yours and you In 1984, Caster completed an intense course at work at the Ruth Volid Gallery in Chicago, a don't feel the need like when you're younger to Marquette University and studied anatomy furniture company (Baker, Knap and Tubbs) keep changing all the time." through dissection. He teaches anatomy and purchased one of her paintings to use behind figure drawing at Milwaukee Institute of Art furniture in a catalog. Her large stained can­ Paul Caster and Design and his knowledge of the subject is vases with their tropical feel fit well with the Paul Caster is 36. He grew up in Evanston, 111. impressive. Using this information he is able to company's image and as a result the demand He graduated form Layton School of Art and have a feel for the human form without being was almost too great. They purchased art for Design in Milwaukee in 1973. representational. In his works he tries to "cre­ their showrooms (London, Dallas, Chicago) ate something beyond the obvious." Caster's and they bought a lot of it. Caster's first one-man show was at the Charles knowledge of anatomy comes through even Allis Art Museum in 1978. In 1979 his solo when the figure is grossly distorted. exhibition at the Performing Arts Center was It's the type of artistic situation that wields a accompanied by the publication of the 20th An­ Caster's work does not deal overtly with phi­ double-edged sword. The money is wonderful niversary Book for the Milwaukee Symphony losophies, meanings and symbols. His work is but at what point does a particular demand where 28 of his drawings were reproduced. about the art of drawing and composition. Us­ start to squelch your artistic decisions? Kjaer There was a show at the Jewish Community ing the figure as a subject, he works in a very chose to pull away from that situation. Center and the major show at the Milwaukee intuitive manner and prefers that the viewer School of the Arts Gallery. The result of these appreciate them as beautiful drawings and not showing experiences was moderate sales and read into them. moderate attention. The new drawings are more ambiguous and less Illlll In 1982, Caster had the inaugural show at Pe­ defined. I've seen Caster work on a drawing for rimeter Gallery in Chicago. His solo show in four days (gessoing, drawing, sanding), then 1983 coincided with the publication of his take that drawing and put it on the floor and use book, Reunion in Hell (32 drawings inspired by a bristle broom and water to scrub the whole Mozart's Don Giovanni and George Bernard thing down and then continue to work on the Shaw's sequel to it, Don Juan in Hell). Caster's drawing for another four days. 5th solo show at Perimeter opens March 22. Three of the four shows were financially suc­ Three of the four artists in this article teach, so I cessful and the last one was close to a sell out. had questions about how teaching might inter­ fere with work and if he would continue teach­ As a result of the support of the gallery, Caster ing if the money from sales would allow it. He has shown work in London, New York, Denver responded: "Teaching is the best thing for me. and Monterey. He had a solo show at the Ar­ I've learned a lot in teaching. I've learned how kansas Art Center in Little Rock and has had to deal with people and it's a challenge. Know­ work featured at the Navy Pier Show in Chica­ ing anatomy does not give you a good figure mmmmmmammms^m^memmmSmsmtmmatii^^ummaaam go. The prices on Caster's current large draw­ drawing. There are days when that information Rath Kjaer ings are $3,600. At present, Caster has no gal­ gets through and the students are trying to do lery representation in Milwaukee. The what you've asked of them and to do it the best "I'm not really thinking about my art all that Milwaukee Art Museum owns one piece and they can, and that's just as rewarding as doing a commercially. I feel that my work is more a Caster work is in numerous private collections good drawing. personal thing. I'm getting more and more to in the city, but otherwise you won't see much of feel that way and that it doesn't matter where I the work around town. While discussing trends in the art world, we am to do my work and if it happens to sell here, talked about critics using labels to identify cur­ there or wherever doesn't matter. I just love to rent trends. Here's a part of that conversation: do the work and I don't want to focus on the selling of it too much. You get too influenced by "In my mind it's all based on appearances. what people want and that destroys the creativ­ What we fight all the time as artists is what ity. other people think of us. We have to resolve that in ourselves and say 'Well, I can't care Kjaer and her husband artist John Colt share a what other people think.' I can't preoccupy my­ studio in the Bern Brothers building on 5th and self with what others think of what I do or it National. Walking into that studio is like walk­ deadens the experience. It takes away the thrill ing into a world of magic and warmth. They are of uniqueness of something that might exist in two of the most gracious and wonderful people 10 minutes that never existed before. I've met. I would stay in their studio all day but I feel as if I'm disrupting the harmony of a Ruth Kjaer sanctified space and preventing work. There Ruth Kjaer is 55. She was born in Dwight, Illi­ are found objects, rusting bits of metal and rags nois and grew up in Salinas California. She re­ hung in spots all over the walls along with a ceived a BA in music from Drake University collection of bizarre voodoo dolls from Haiti. and was involved professionally in music as a The plants make it jungle-like and a large Afri­ pipe organist, choir director and teacher. can Grey bird shrieks and whistles up a stream Paul Coster Kjaer began showing in 1977 and in 1978 had of conversation and numbers.

23 Ruth and John travel extensively. They recent­ This mixed up work continued while Uttech "There are a lot of names that are being formed ly returned from the South Pacific, the Cook was in Little Rock and when he received the for work now. Like 'romantic' is a thing that is Islands and several visits to Mexico. They have teaching position at UWM and returned to Mil­ no longer scorned. Mine has to be romantic a house to stay at in Haiti but because of the waukee. The predominant style in town was a because of everything you just said, although I political situation, recently they haven't been combination of minimalism, hard-edged work don't really identify with Romantic art. I think able to go there. and tech art. Uttech ran into another artist who they are expressionistic works too. But I'm not asked him if he was still painting. When he expressionistic like Schnabel or those guys. I I recall Ruth telling me about how while staying answered "yes," his friend sort of looked down don't think there is a name for them. They're in Haiti, she and John would begin their day by his nose and said, 'What shit is this? Nobody just fictional pictures." getting up at 7 a.m. and sitting out on the back paints anymore.' veranda before the sun would get too hot. They I asked Uttech what holds him to Milwaukee: would draw in their sketchbooks (watercolor), So still doing images related to graduate school "Beats me. It was a job. It's a comfortable city. work for several hours before breakfast, and and heaving comments like that ... "I did It's an easy place to live. I like Wisconsin. I like then continue their work after breakfast. There work and nobody cared to look at it. I got pretty the North. So what's the point of going to was always something to draw — the lizard upset and decided the heck with it. I don't need Ohio?" perched on the wall, the incredible vegetation, this anymore, so I stopped painting. an object or an artifact. Their studio is like that All four artists in this article agreed that Mil­ and as they travel the world, the world becomes "I stayed at home at night and played around waukee is no place to build a career — it's a their studio. with my daughters and watched a little televi­ great proving ground. So should you waste sion and didn't worry about being an artist any­ your time showing here? Another story Uttech "It's like a little diary and that's what painting is more because I couldn't compromise what I related answers that: all about. It's really just a diary of one's life." wanted to do and be successful so I just stopped since it looked like nobody could do anything Kjaer currently has seven galleries around the but that technical work in the state. I started "The start of anything good that happened to country that she shows with. drawing little note drawings on little pads of me came in Beloit — the Beloit and Vicinity paper — just drawing goofy little things of show. During the phase when I wasn't an artist I things that were entertaining. In the process of took one of those early paintings down there. Kjaer's new work is a departure from the tropi­ doing that I gradually evolved away from all The guy who ran the gallery liked them and cal foliage paintings. Found objects and arti­ those weird images I had let soak in and some remembered them and a little bit later when a facts become central characters around which new ones started to emerge and become very gallery in Cincinnati sent out a letter all over complex color fields float. compulsive. I started these mixed media draw­ the Midwest looking for artists he gave them ings because they were fun and it was really just my name. They liked the slides, contacted me "I'm finding through the travels that there are entertaining myself and I didn't show them. and I had a show there. While that show was up certain basic forms in all these cultures that One of those drawings was so interesting that I the people at the Whitney Museum were going relate to each other and that's become a real felt I could make a painting from it. I still didn't around and by coincidence they were putting interest of mine and I'm starting to use some of consider myself to be an artist." together a Whitney Biennial that included peo­ those forms in my work along with the nature ple from around the country (more than just forms," Kjaer said. Uttech entered that painting and two others in New York people) so they saw it and liked it the Wisconsin Painters and Sculptors Show and and I got a painting in the Whitney Biennial. Regarding current trends in the art world, Kjaer won an award and recognition. "But it was a Some guy from Germany was there and he saw says, "Trends come and go and artists do what real funny feeling to me because I really didn't it and he put it in the same show that included they do no matter what. Instead of shifting on think of the paintings as art or myself as an Paul Klee, Lucas Cranach, the expressionists this or that bandwagon it's really best to keep artist. I didn't really feel like I was an artist until and all sorts of people. And now I'm finding on your own personal quest and I find it a lot sometime way into the 1970s." that back in New York there were a lot of peo­ more interesting and fun doing it that way." ple that remembered that painting. You can't really eliminate any place as some place that has potential." Tom Uttech Tom Uttech is 45 and he grew up in Merrill, Uttech's large canvases sell for $18,000.1 asked Wisconsin. He received his BFA from Layton him how many he can paint in one year. "I School of Art and Design and his MFA from the don't know. I should count sometime. Last win­ University of Cincinnati, Ohio. He has had ter I finished 5 six-footers, 6 five-footers, about work in group shows and solo shows around the 2 nine-by-tens. I have about 3 fifty-inch ones country and in Europe, ranging from the Whit­ for the Bradley Gallery show and about 20 or ney Biennial to the Madison Art Center and a so little ones." show in Stuttgart, Germany. Of the four artists in this article, Uttech might be getting the most Uttech does sell well in Wisconsin but added, "I recognition both in Wisconsin and out of state, sell bigger paintings outside the state. I've only yet his major sales are still coming from out of sold 50-inch and smaller in town." (excluding a state. Again, one has to wonder how many local commission for the Milwaukee Athletic Club). individuals are really familiar with his work. "Dorothy Bradley has sold quite a few over the years. I'd go broke if I tried to live off the Uttech's one-man show in New York at Max­ paintings I sold in town though. Milwaukee well Davidson Gallery opened Feb. 22. The seems to buy less and less significant things." show was complete with a full color catalog and Tom Uttech a half page ad in Art Forum. He has another Regarding fashion and trends in the art world, solo show opening at Dorothy Bradley Gallery Uttech's work is very personal. It's related to Uttech says: "There is just no way on earth that in Milwaukee on March 22. In January, Uttech his life and his experiences. It's a compulsive anybody that is part of a movement can ever be sold a major painting to Marshall Field III endeavor. remembered or cared about in the long run (president of the board of the Art Institute of because whoever thought it up in the first place Chicago). Uttech has work included in a forth­ "If all of this would fall apart and a new style had most of the spark and if you're just tagging coming book on American landscape painting swept the art world, I would just go back to not along, well, who cares. It's really interesting and it's possible that one of his paintings will be being an artist again. There is no way I'd and ironic because most of the people that try reproduced on the cover. He currently is get­ change." to be on the cutting edge are young kids, or ting work ready for the Struve Gallery in Chi­ graduate students — people in their late 20s cago, which will again feature several of his Artist Steve Samerjan coined the phrase that and early 30s. You think of that group as the paintings at Navy Pier in Chicago. Uttech is "painting his own Lake Wobegon." most adventurous and open to change, but in Uttech said he is interested in making a perfect fact, because they are tying into something that exists and trying to get some sort of momentum During the interview, Uttech filled me in on space yet one that is archetypal. He is painting and be with it and be appreciated and run some of his personal history: what he likes and what he responds to. I some­ times see Uttech as a Wisconsin wildlife artist, around town and be a big hero . .. It's not a but it's a wildlife painting gone awry. Uttech business of being creative and having a unique "I had started doing some pretty mixed up shifts things around. There are aspects of the voice at all. It's conservative reluctance to stick work when I was in graduate school. It wasn't picture that are wrong. He's trying to fit all your neck out. It's a very timid approach to as related to my experiences in the woods and those things he likes into one painting. Colors being an artist even though it looks like it's the where I grew up. It was about the only time in are exaggerated — or are they? The paintings most avant-garde and crazy stuff. ***< my life when I really paid attention to what was are about magic and myth and the wonder and going on in the contemporary art world," Ut­ mystery of the woods. Uttech's paintings are (John Gruenwald is a local artist and print- tech said. visual folklore. maker)."

24 Art Muscle Walk This Way

By Jerome Schultz butes of "power, energy, and tri­ umph." And that it did. Sung by a GREAT LAKES COMMERCIAL ART global chorus, the song was the rousing a dream you dream alone grand finale for the opening and clos­ is only a dream, a dream ing ceremonies. It is also Coke's new we dream together FILM&VIPEO, INC theme song. becomes reality. yoko ono lyrics, 1983 While the Olympics remained an eter­ They're back! It's leap year, time again nal commercial for dominant culture, for that unique modernist spectacle tag the actual commercials developed by team — the Winter and Summer official US sponsors of the Games of­ PRIMAL SCREEN Olympics. Watch your watch, for TV, fered TV viewers consumed by "the American's timekeeper, will be tempo­ thrill of victory and the agony of de­ Primal Screen is a diverse, adventuresome, and intellectually engaging rarily interrupted by that proverbial feat" a format of participation in the program of contemporary/classic film and video from every corner of the distraction: sports. Regular program­ postmodern spectacle of consumption. globe. ming, even the news, steps aside for This participation was complicated by only one narrative — actual or poten­ numerous commercial spots which A collaborative programming venture of Great Lakes Film & Video, tial catastrophe. As you know, sport through the simulation of Olympic Community Media Project, University Film Services and Union Cinema. Primal (the carnival of discipline and punish­ events and audiences made it difficult Screen is presented in the Union Cinema, UW-Milwaukee Union, 2nd floor- ment) is the most frequent projected to distinguish between what was a Kenwood and Maryland. catastrophe and program interrupter. I commercial and what was an Olympic think Dan Rather will be witness to event. that. The thrill of victory, delete that word and enter domination, was spotlighted With the 1988 Olympic sites of Cal­ by the official lightbulb sponsor, Phil­ MJ:1IM gary and Seoul, the state for a Chris­ ips. A solo Saddle Dome speed skater, tian melodrama is evoked, but that's colorized to the monotone of hygienic almost the truth. For the Olympics are white, raced to new age creation mu­ 29 The Brothers Qua% Timothy and Stephen Quay, 1987 * * not a High Mass but a dominant cul­ sic. Genesis couldn't have done it bet­ The Quays, American twins who live and work in London, are audacious inventors who work in the ture commercial celebrating the mod­ ter. It's frequent display was only sur­ unique form called puppet animation. Their Eastern European-influenced work ranges in tone from ernist fetish for the romantic joy of passed by the numerous instant nightmare creepiness to Pee Wee Herman zaniness, while emanating an eerie beauty not seen before purist pursuit and its product of exper­ replays of Jansen's Fall. Folks, wel­ in animated art. They use found objects - wires, mold, peeling mirrors, dolls' heads with luminous hol­ tise displayed as a commodity of phys­ come to Challenger time. lows - and their visions are powerful precisely because they are unsettled and unresolved. ical perfection and aerodynamic effi­ ciency. Olympic logic like fundamental The melody of Catch the Feeling be­ 30 Faces of Women, Desire Ecare, 1987, subtitles * scripture, glorifies to excess the obses­ came the muzak for a Coke spot which Two stories of African women in the Ivory Coast. One woman is caught in a marital row when sion for pure motive (Olympians are featured the accidental meeting and accused of an affair with her brother-in-law and the other involves a successful entrepreneurial amateurs), the pure body (drug and spontaneous dance of a rehearsing woman unable to acquire a bank ban. steroid screening), and a pure sex (hor­ eastern bloc figure skater and a US mone tests). Even sexual orientation hockey player. Their Glasnost bliss re­ has entered the playing field through mained checked by the skater's anx­ the Supreme Court ruling last year ious scrutinizing coach. Their hearts outlawing association of the word 1 Animation Series (films TBA) *** only momentarily beat as one. Stop­ Olympic with Gay organized events. A ping short of a kiss, they at least caught „ decision most ironic, taking into his­ the feeling and not a disease. 13 Student Film Festival*** torical context the original culture that produced the games. The Olympic scheme as the great unifi­ 14 Leadbelfy Gordon Parks, 1976 * er was the motif of Budweiser and The Calgary Games continued the The dramatic odyssey of Huddie Ledbetter, the black blues singer whose songs reflected the passion Maxwell House spots. Maxwell House Olympic beat with a format of tempo­ of his times. From sharecroppers' hut to prison yard to Carnegie Hall, Leadbell/s life is punctuated by emphasized the congregating of males ral psychosis laid out during the open­ fights, love affairs and music. before the TV, at the office, at bar­ ing ceremonies. Unlike the LA games racks, while a male voice-over stated which celebrated the calculated to­ 15 SoraKara, Yoshimitsu Morita, 1986, Japanese w/subtitles ** "every four years, a nation comes to­ morrow land fantasy of Hollywood Beautifully visualized, deeply ironic, tale of repressed passion in turn of the century Japan. gether." Generation and class distinc­ special effects technology, the Calgary Yoshimitsu Morita fashions a mesmerizingly rich atmosphere, keyed on long afternoon shadows, tions were eroded by a Budweiser spot games through the voodoo of yester­ moonlit trolley rides, and deep intricate interiors drenched in amber light. in which a yuppie executive leaves the day emphasized the down-home Wild bar bonds of his compadres to experi­ West code of the host site with cow­ ence "a nation reduced to neighbor­ 20 & 21 Magdalena Viraga, Nina Menkes, 1987 * boys and Indians, square dancers and Magdalena Viraga, an avant garde mystery, concerns the inner life of a prostitute who is arrested for an hoods," by watching the hockey game fiddlers, rawhide and fur. Even the ambiguous murder. The film was shot in the bars, dance halls and churches of East Los Angeles with with an old janitor. military was reduced to benign kitsch a small crew and on a minimal budget. It has been shown widely at international film festivals including projections of formal decorative har­ The displacement of time, the Olympic Toronto, London, Festival du Nouveau Cinema, Montreal and at the Beijing Film Academy in China. monies with the Mounties performing hallmark, was featured in a New York a regimented June Tayloresque dance Metropolitan Life Insurance spot. A * CMP- Community Media Project, Free, 8 pm to music, while the Royal Canadian male US skier, identified by dialogue Air Force flying team, the Snowbirds, from Calgary '88, is discovered in ** GLF&V - Great Lakes Rim & Video, $3.00 generaJ/$2.50 students, 8 pm flew overhead like majestic eagles 2014, frozen in ice. Through the bene­ ***UFS - UniversityFim Services, Donatbns:$2.00general/$1.00students,8pm spewing Olympic colored exhaust fit of future technology he is brought Great Lakes Film & Video Discount Passes are available at the box office. from their tailpipes. All together, the back to life, like Lazarus, to enjoy the ceremonies were a theme park specta­ insurance benefits of the policy pur­ cle of nostalgia which lead co-anchor­ chased in '88. The Olympic dream man Jim McKay to spontaneously theme was best exemplified in the comment "This is so moving, so excit­ Miller Lite spots featuring Bob Uecker, ing, because it is so real." A bizarre who was projected as a gold medal Saturday, April 23, 8:00 pm, Free comment since the dominant narrative winning skier, skater, and hockey goal­ PREMIER: Before We Knew Nothing by Diane Kitchen for the festivities was to code the ie, only to be woken up in a bar to be Filmed with the Ashaninka Indians of Eastern Peru. Olympics as an idealized realm of un­ given another beer. As the voice-over paralleled significance — a "Once in a reaffirmed "the Olympics bring out UW-Milwaukee Fine Arts Recital Hall lifetime" dream, whose essence the dreamer in all of us." McKay had summarized as "more Saturday; April 16 & Sunday April 17 powerful than the will to live, the cour­ The '88 Winter Olympics were indeed age to dream." Calgary's identification a dream of the struggle and survival of Great Lakes Film & Video 1988 Video Festival as a dream was not that alien to TV the fittest. Unlike recent games, Cal­ UW-Milwaukee, Curtin 175, Call 229-3906 for details viewers who'll remember that the en­ gary, just like a dream, was free of any tire '85-'86 season of Dallas was noth­ political terrorism. This is not to say GREAT LAKES ing but a dream for the sitcom charac­ terrorism didn't exist, but at Calgary it ter Pamela Ewing. was reduced to the nursery rhyme nightmare villains of Nature (Nakiska and Chinook Winds) and a family Unique to the Calgary Games was the meltdown (Jansen's falls). The '88 inaugural of a theme song, Catch the Winter Olympics highlighting the Feeling. Composed by David Foster acme of individual achievement and FOR FILM SCHEDULES and funded by Coke, the song was social harmony were indeed a dream. & INFO: 414.229.3906 meant to express the Olympic attri­ Too bad Freud had to miss it. >*•»• FILM & VIDEO

25 IMODOI MIIWAUKEE

Architecture moves through STYLE. Like every art form, and especially the functional (design) arts, style is constantly changing, ever searching for something NEW. Architecture, however, has currently reached an odd point in its growth. While almost all arts look to their past for information, architecture has taken a step backward to its past, not tofearn from it, but to repeat it. Welcome to PREMODO.

Bored with constructing gridded glass boxes such as the First Wisconsin Center, architects have, in the last several years, been restating history. In the late 70s it was called Postmodernism; an often humorous play with classical elements such as the column and arch. These buildings often appear as brightly colored "children's versions" of classical Greek and Roman Architecture. They poke fun at history more often than repeat it.

Lately this play has led to a more serious reproduction of American pre-Modern buildings (such as the Milwaukee City Hall and the Wisconsin Telephone Company buildings in down jpwn Milwaukee). This accurate reproduction of pre-Modern elements has been given the name PREMODO. The more shining examfles of this style can be found in the recent work of Philip Johnson, in Chicago, and many other architects, including "Postmodernist Prince" Michael Graves. Although Graves'work still contains many Postmodern references, his new winery building in California is Jipving closer to PREMODO sensibilities.) in many cities, these PREMODO buildings are hard to distinguish from their pre-Modern counterparts.

Here in Milwaukee, however, it is a dift aory. We too, are able to see the beginnings of PREMODO, although something appears to have gone wrong. One o - -. - - guidelines for creating successful PREMODO architecture is the adherence

to the proportions and three-: ; - . -tailing found in pre-Modern architecture. In the following Milwaukee -. examples, this adherence is .. •, '•>. fe unpleasant results.

Ip the jfankee Hill apa . - :'-.- , :':. i lies in their most important design feature, the roofs. These roofs —

which loom ovt d - .- ; \. - -/ - - - lodern buildings, are played down to the point that they appear

! to be built . • . . . —-:-: .:•"'the building. This takes away from the "crowning" appearance c ;' ---:••: ._ ''•-.'.' z ' ed-on" decoration. (In a nearby building, the Cudahy Towers,

you can also see this lack- " " nn comparing the new cupola to the original, properly

m„.,,„„mK^m,^„ms:^» z r.z oned one).": '",,

- '•- ' ::ater District building, another different problem in the line

score '.:' ••: :.•• up. The cornice- work of the East facade, originally planned

--' • -. . :-.ign of City Hall, has been flattened to the point of looking

'- : :.= .hoard cutout with the detail drawn on. Here the problem

••- liesJiot with scale, but lack of three-dimensional detail. As

stated before, this was not originally planned to be quite as flat

as it turned out, but construction cost cuts led to them being

...... Vii:... redesigned and flattened. If cuts must be taken which : cheapen the appearance of a building, perhaps a gridded glass box would look better than a painted cardboard one.

Milwaukee's latest attempt at PREMODO has yet to be seen. The 100 East Wisconsin Avenue

building is still under construction, and from the

"" model, appears as if it will be the closest to true

: JRpEMODO. We will have to see if changes will

;;i||made here also to save costs. Let's hope not. This

structure has too important a place in Milwaukee's

Among these poor attempts at PREMODO, we can find one idpyvntown to be reduced to a flat box with super-

S: ; /•:-: ' v'-':;v:o:..e>-/:—', ooaoa. dsasa.'O" ydjsaondaOoyenue is ,i;,,Jm in'.posed oeiad. d d v a atteriti'b11 W'l3'eMLffiat:iv: clearly an example of PREMODO at its finest. Although it is aadddtaiakssdaddaroody 0;O'-oaoea" a d;cd.-.>a; a-aadod : * av: a '"•:.:' .'• a' a " a:a • • vcx^kec;''-:c:^t^rrY-e'^ard.vo'propor- and if architects must copy this style, they should be

als. Its ws • av p-ornment position and harmony ol site make it N^Mukee'f' doaay- taadepdetali-a'no aaaaaas ?a noas: aooaaav- a ' • •.": , a •--,[ - , - - ,|y hope '" " • . as are not adhered to,

that its neighbor across the street turns out as well. dataOsoadoj.sa.vda- :

(John Luttropp is a mult/disciplinary designei and design in­ structor in Milwaukee. He has taught courses in the history of design and architecture, and has studied architecture in the •ddil'dddiK^

Photos by Francis Ford 26 Art Muscle invites # you to join $ Ear Resistable *s the Reader's selection of earrings Bookclub Contemporary & Ethnic Silver Jewelry What do 2207 N. Farwell MilW. Wl (414) 224-9675 you remember of what Society: you read? Crucible of Individualism Wed. March 16th Robert Arneson, Lynda Benglis, Roger Brown,John Buc 7:30-9:30 pm huck Close, Robert Cottingham, Jim °ir e, V ~n i Fisc Wed. April 13th iiiiilB^ d:::Silillllis !fiti II 111 ll. 1 k 1 llllll 7:30-9:30 pm Fantasy and oward Hodgkins K:ii*« 3u ^siiagei, ' i ] \£ ?2. Ma Science Fiction: vfx "n -i < a* Ck ibt %, ^d •asc.-ke, Philip Pearlsteii Escape into Reality lib teic > ^»r H^ Pasin Sloan, Frank Stella, Randy T\ Please call for Twaddle, Tom Uttech, William Wiley, et cetera, et cet Wed. May nth more 7:30-9:30 pm Reception from 5-8 p.m. information April 6-30 April 9, Saturday

Webster's on Downer 2559 North Downer, Milwaukee, Wisconsin 53211 Telephone: 414-332-9560 dean iensen gallery 10-6 Tues.-Fri. open 9:30-12:00 midnight M-Sat., 12-5 Sunday 217 N. Broadway Milwaukee, Wl 53202 (414) 278-7100 10-4 Sat.

Alfalfa sprouts, whole grains and fresh greens served daily. 1901E. North Ave. 278-7878. McDonald's Station of the Star, photo by Dick Blau Yehuda Yannay Film & Music 7 p.m. Thursday, March 17 Sponsored by the Cudahy Gallery and Wisconsin Painters &Sculptors Admission: $3.50 Milwaukee Art Museum 750 North Lincoln Memorial Drive Milwaukee, Wisconsin 53202 414-271 -9508

27 •. i j &f S|t»-¥ fJ^WifS' fff^t? ^ N?*"** f^J^'"'

In this article I will attempt to present some of which block the channels through which diver­ the contradictions in the two poles of art theory sity can express itself. today and how they affect the ways that exhi­ bitions like this one are presented. On one side I have used the form of this article to show we have Curtis Carter, a scholar of aesthetics what this diversity looks like. and the man who put "Photograpy on the Edge" together. On the other side we have Hal I rely en the typesetter to help me visualize the Foster, Allan Sekula and Douglas Crimp, three process. of the most prolific postmodern art theorists. In the middle, you have me, a feminist who wish­ Abbreviated quotations from my hour of dis­ es these guys would get to the point and stop cussion with Carter appear in plain type. Carter fooling around with words. is CC. I am ME.

The way this article is structured may seem Quotations from printed materials appear hi confusing, but it's meant to be that way. The bold type. issues being debated and the language used to debate them are often made intentionally ob­ My asides are in italic type. scure to satisfy our expectations of higher thinking. Postmodernism is known for its circu­ Because of the nature of the art distribution lar, fragmented thought as this article will system today, theory plays a crucial role for show. artists, even if they themselves don't read it. Curators who put together the exhibitions and critics who review them rely on other writers In the majority of the works shown in "Photog­ and curators to guide them toward the relevant raphy on the Edge" ... either by the artists' work being produced. Curators are often ex­ intent, or through ironic assimilation into aes­ pected to create not only an exhibition, but a thetic or other art world interests, critical state­ thesis or a viewpoint which will place the work ments ... and other 'real world' issues are giv­ in a historical perspective. The sources of their en less attention than in the prior 10 year span. inspiration are just as important as an artist's Instead the artists are mainly preoccupied with sources, which is why I begin this investigation the new ways of creating unique art objects. with the curating process. Reality consists primarily of images which are themselves proper subject matter for other sec­ ME: How do you start developing ideas for ond order images. exhibitions? Curtis Carter, Essay for exhibition catalog CC: I'm constantly traveling to New York, the west coast, Europe, etc., always looking to see what's developing in art. So I'm constantly ab­ Neoconservative postmodernism is marked by sorbing through first hand observations and an eclectic historicism, in which old and new through reading, the current developments in modes and styles are retooled and recycled art. in art ... The use of pastiche in postmodern art and architecture deprives styles not only of specific content but also of historical sense ... I look for relationships between concepts and in this sense 'history' appears reified, fragment­ aesthetics, between concepts and what the art­ ed, fabricated. ists are doing. I like to do exhibitions where I literally have to walk the streets and find the Hal Foster, 1984 work. I start out looking, then talking to people. I find out who knows what are the important developments of the artists emerging. Then I go The institutions that display art also produce and look and keep talking and looking and written materials, from press packets to cata­ reading. Eventually I put all those elements to­ logs, about art and artists. They have a real gether. power to affect artists economically through "Alamagordo Blues" Patrick Nagatani/Andree Tracey what they choose to endorse in writing and in In this case the concept was that I was interest­ exhibitions. The educational institutions ako ed in the changes hi the objecthood of the pho­ affect art and artists. According to a recent tograph through the manipulations and alter­ survey of artists working in Manhattan, 70 to ations by painterly methods, sculptural By Cynthia Crigler 80 percent have MFA degrees. To receive an methods, and the theoretical influences of neo- The Haggerty Museum of Art at Marquette erts, who uses multiple printing to create tote- MFA, an artist must produce a defensible the­ marxist, psychoanalytic, and contemporary University will present "Photography on the mic or ritualistic images and Beatrice Helg, sis, either written or exhibited, sometimes both. feminist theories. Edge" March 24 through June 8. The opening who makes surrealist tableaux on large Polar­ They must also take written and oral exams reception will be at 5:30 p.m. March 24. oids. which usually require a grounding in a theory ME: Most of the work I see in these slides or philosophy. Much of the concern today over doesnt seem to be dealing with the theoretical "Photography on the Edge" is a survey of the This brief list shows that there is little concern the cultural connotations of images stems from aspects in the same way that other current work postmodern photography, sometimes referred for realism amongst these artists and much the inclusion of new theories in academic cur­ is. to as Soho art because of its popularity in New concern for fantasy. The following list suggests riculum. An academic art practice is the price York galleries. This work is characterized by its some of the diversity in style and technique. we pay for our education system. This can be CC: I think that we've moved beyond the self- large scale, technical manipulations, and the dangerous when influential and respectable conscious social and political phase of photog­ frequent use of color. The images tend to be Painterly and sculpturally altered photographs, people make pronouncements about the state raphy that has occupied the mainstream of visually appealing in a lush, seductive and those embellished with drawings or paired with of art and it manipulates the way artists make theoretical discussion. I'm not so sure about sometimes dreamlike way reminiscent of Im­ etchings on related themes, fabrications con­ art. practice, during the last 10 years. In this work pressionism. The artists chosen for the exhibi­ sisting of photographs with staged 'acts' and the main thrust seems to be that even those tion include some of the well known names of environments made only to be photographed, "Photography on the Edge" is an example of photographers concerned with the social and today: Richard Price, who appropriates adver­ rephotographed images from past art or popu­ contemporary curating through its process of political have gone back to aesthetic consider­ tising images to raise our awareness of com­ lar culture, and photographs whose essential selection and its written justification. It is full ations. I'm sure that people like Allan Sekula mercial manipulation; Sandy Skoglund, properties include art theories and philosophi­ of a wide variety of styles and techniqes, many wouldn't like that claim. whose nightmarish setups of flying babies and cal concepts of the day, are all present. of which I personally find exciting and stimu­ irradiated cats reflect our violent society with lating, others I respect without enjoying. It is Allan Sekula is a contemporary photographer PHOTOGRAPHY black humor; Sarah Charlesworth, who makes Curtis Carter not however representative of all photography whose work is classified by critics as 'New So­ cutouts and color-codings to re-order cultural today, which is much more diverse than what is cial Documentary.' icons; Louise Lawler, who uses large color pho­ In the past 10 years, a major debate has arisen shown here. In so far as it represents a limited tographs to critique the economics of art; Nic in the art world. On one side we have the plu- scope of photography, it does it very well. I ON THE EDGE Nicosia, who makes images of scenes that exist ralists who say a work must reflect many inter­ think this is important to keep in mind as you He has written extensively on photography only in photographic reality; and Frank Ma- pretations and viewpoints. And on the other view the exhibition and I would recommend and its relation to social practice while playing YOU CAN'T HAVE IT fore, who creates large-scale advertising side we have the specifists who say that one seeing it. The real advance that I think our an active role in influential photography orga­ dream-scapes. can only have one viewpoint and the work culture has made in the post-war period is the nizations such as The Society for Photographic BOTH WAYS should represent that viewpoint specifically. recognition (limited as it may be) of other Education where he participates m the radical There are also many lesser known artists in this Those supporting the first stance tend to make viewpoints and other ways of seeing. As an women's caucus. Carter uses him as an exam­ show: Lynn Augeri, whose images depict wom­ visually beautiful art, those supporting the sec­ artist and an educator, I think it is important to ple of what is referred to as the political branch an's ambiguous position in culture; Holly Rob­ ond stance tend to make didactic or critical art. avoid universal, all-inclusive generalizations of art photography.

28 Art Muscle 29 Aestheticism must be superseded, in its entire­ CC: Yes. I tried in the essay to trace some of the interest me at all. I find it conceptually interest­ ty, for a meaningful art, of any sort, to emerge. history. These experimenters (in this exhibi­ ing but visually not exciting to me. The Kantian separation of the aesthetic idea tion) are doing different things but the spirit of from conceptual knowledge and interest is an experimentation starts in 1850 and runs ME: That's an important consideration? act of philosophical closure with a profound through. influence on romanticism, and through roman­ CC: In other words, I usually wouldn't be in­ ticism, on aestheticism. The attempt by some people, Sekula and others clined to show work that I didn't find visually Allan Sekula, 1975 of that ilk, to deny the aesthetic foundation of interesting personally. art is wrong-headed in the sense that you can Sekula maintains a distinction between an 'im­ make statements through aesthetics. If you are To the extent that ideological concerns are plied aesthetic' and 'manifest polities' and vice- going to have art that is important or lasting present, they must be recognized by art theory versa. From his work it is clear that he believes and of interest to more than just a few special­ and all knowledgeable viewers for the role that the form of art must be integrated with both its ists, you are going to have to deal with the they play in the formation and function of pho­ function and the immediate audience that the aesthetic foundation. It doesn't mean it has to tographic objects. work will serve. be divorced from life. It doesn't mean it has to Curtis Carter Essay be elite. I feel that art should reach out to a CC: What I was really trying to show was that whole range of people. there is much more going on and I really think Appropriation is a common art and advertising practice today. It refers to the use of imagery the whole idea of social and political art has Can it be possible that there is no one aesthet­ from various cultural sources including older past. ic? If art is to be tied to life then it must connect art styles and the mass media. It is cited by in different ways to different ways of living critics as either a symbol of our current inabil­ ME: Does the marketing of these works influ­ and the different positions, cultural, racial, ity to originate ideas or as an example of intel­ ence this? sexual, etc. ligent insight on the part of culturally aware artists. CC: Certainly the marketing aspect is always a ME: For example, Richard Prince and Sandy factor. Skoglund (both included in this exhibition) deal CC: If I'm reading the artists carefully they are Total number of works in exhibit: 74 now more self-conscious about conceptual mat­ ters. They know the political implications of Total number of galleries contributing: 25 imagery and its manipulative possibilities by the media and other cultural forces. They even Total number of works contributed by artists: 4 reference that in their images, some of them, not all of them. Take Frank Majore's piece Total number of works contributed by private "Paris Is Calling." A very beautiful picture, collectors: 7 « thoroughly grounded in aesthetic consider­ ations and referencing the use of commerical Total number of galleries lending work, by city: magazine photography and techniques. Maybe Boston 1, Houston 1, London 1, Milwaukee 1, somewhat critically, but at the same time it is an New York 19, San Jose 1 and Toronto 1. irresistibly beautiful object which is grounded in aesthetics. One of the big debates in art today centers around the politics of images and whether or ME: Do you see a correlation between this not art can change peoples' ideas or whether it movement today and the pictorialist movement can merely support ideas. at the end of the last century when people were looking forward to the big change — the transi­ Louise Lawler is often grouped by theorists tion into the 20th century? with such artists as Barbara Kruger, Martha Rosier and Jenny Holzer. The Lawler photo­ CC: I included in the essay a section on the graph included in "Photography on the Edge" history just to show that this is not so new but comes from a series in which she photographs rather a reflection of the cyclical stages in pho­ famous art works with the people who own tography. What is interesting is that this group them to expose the process of turning art into a of artists is bringing this to a wider and more commodity. "Gargoyle" Marcus Leather dale. image conscious audience while adding their innovations. CC: For distribution purposes in our society art is closely tied to the gallery system. The irony As to what this means to the larger flow, as I of political art can be seen in the work of Louise with cultural matters but seem to be working think you're trying to get at, it's a little danger­ Lawler. The very critique that she is making from a different aesthetic. ous to predict. I do think that we are in a period against institutions and the questions that she is of flux and transition. I think pluralism is the raising. I have no problem with this. All of our CC: Now Skoglund has a fundamentally classi­ word of the day and therefore we haven't found insitutions have to be scrutinized constantly. cal aesthetic and then she exercises social com­ the next great direction in art. I think we're in Her critique is ironic because she puts her work mentary and uses technically interesting kinds an age of exploration, looking at the past, rein­ in these galleries and sells it to these affluent of phenomena. With Prince, you don't have an corporating it, quoting it, cynically and affirma­ homes where it appears. Give me a break. You original object, you have an original concept. tively. can't have it both ways. I don't object to her To properly describe the work you have to take having her work in galleries. I'm showing it into consideration the conceptual properties That's where the greatest energies can come here. I think that in addition to whatever else just as with the work of Marcel Duchamp. How­ forth and eventually that's where a new direc­ she is saying, her aesthetics are all right and that ever, even though Prince claims to be disinter­ tion will emerge. I'm a pluralist. I do believe in she has addressed the aesthetic in spite of her­ ested in the aesthetic, both the advertisement exploring diversities simultaneously. Tradi­ self. on which it is built and his picture have aesthet­ tions are in question not just as to their validity but as to their possibilities for new directions. Style, that old bourgeois substitute for histori­ ic interest. cal thought, is preeminent again. Hal Foster, 1984 Our new art tends to assume historical forms As a general condition pluralism tends to ab­ out of context and reified ... In certain quar­ sorb argument, which is not to say that it does ME: How do you define aesthetics? ters this is seen as a return to history, but it is in not promote antagonism of all sorts ... in a fact a profoundly ahistorical enterprise, and the pluralist state art and criticism tend to be dis­ CC: Aesthetics involve formal considerations. result is often aesthetic pleasure as false con­ persed and so rendered impotent. A form is essential to art. Art deals, in this case sciousness or vice-versa. Hal Foster, 1982 visually, with ideas. I'm a cognitivist in aesthet­ Hal Foster, 1984 ics. I believe that aesthetics involve ideas both ME: I wonder what will happen to the people in terms of formal ideas and the conceptual ME: That sounds like a description of Sekula's whose work is included in this show? means of communication which can be expres­ work. sive or didactic. CC: I went back through catalogs from the '20s CC: I don't have a problem with that. My quar­ on, particularly from the '50s-'70s. There was I guess the roots of aesthetics are ideas of cre­ rel with Sekula would be to attempt to deny hardly a name that carried through. Then of ativity and form that appeal to our perceptual that the aesthetic is part of the response. course I couldn't help asking myself how many positive affirmers. Or it deals with profound of these (He lifts a sheet of slides) in 1990 or emotion or profound thought, or hopefully, ME: But Prince denies it. 2010 will be interesting? both at the same time. Aesthetic ideas also have reference to art history. CC: To the extent that he does, I have the same (Cynthia Crigler is a local artist and lecturer in quarrel ... If you are wondering why I didn't art at the University of Wisconsin- ME: The connotator of the past? put Sekula's work in this exhibition, it didn't Whitewater), -^m 30 Art Muscle jlliKatys =1 J== AMERICAN INDIAN ARTS

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Waukesha; 547-1211 Valerie J Christell Mixed media survey of the latest work done March 27-April 17 Recent figurative works; UW-Waukesha: by a number of Wisconsin artists; MAM: Hilary Goldblatt Now-March 24 Fine Arts Gallery (Southview Hall); info Cudahy Gallery of Wisconsin Art; 271- Metal sculptures & abstract paintings; Laurence Rathsack 521-5200 9508 opening reception March 27 2-5pm; Wright Watercolors; Bradley Galleries, 2639 N Street Gallery, 922 E Wright; 265-7213 Downer; 332-9500 Now-April 10 Now-June 5 Realisms Focus: Small Scale Sculpture from the Per­ March 27-April 28 Now-March 25 Curated by John Colt & featuring paintings manent Collection League of Milwaukee Artists Taking Issue/Gaining Ground of Byron Barnes, James McGarrell, John Bronzes, terracottas & other objects from 36th annual juried exhibition of paintings, Work by women in the areas of preserving Wilde, Warrinton Colescott, Ed Paschke, the 19th century to the present; MAM: Se- drawings & prints; opening reception & recording personal history, feminist/politi­ Tom Uttech & William Nichols; UWM: Fine gel Gallery; 271-9508 March 27 2-4pm; Charles Allis Art Muse­ cal concerns & social criticism; UWM: Arts Galleries; 229-6509 um, 1630 E Royall; 278-8295 Union Art Gallery; 229-6310 March 18-April 17 Now-April 10 Jan Groover March 27-May 8 Now-March 26 Craft Today: Poetry of the Physical Photography; Michael H Lord Galleries, Steichen/109 Seeing in the Dark The 1st major survey of handmade objects 420 E Wisconsin; 272-1007 118 works by the world-renowned photog­ Reg K Gee, Drawings to tour the US in 20 years; 300 handmade rapher opening on the 109th anniversary of John Broenen, Paintings craft works created since 1980 by Ameri­ March 19-April 8 his birth; included are early works, portraits, Dean Jensen Gallery, 217 N Broadway; can artists; MAM: Journal/Lubar Galleries; The MOM Show nature forms, fashion & advertising (photos 278-7100 271-9508 Male or Men; opening reception March 19 for the old Vanity Fair magazine), and pho­ 8-11pm; Leo Feldman Galleries, Inc, 773A tos from the 2 world wars; opening recep­ Now-March 27 Now-April 15 N Jefferson (alley entrance); open Sun­ tion March 27 1-4pm; UWM: Vogel Hall Art of an Emergent Nation: American Paint­ Bill Bohne days & by appointment; 289-0308 Galleries, 3253 N Downer; 229-5070 ing 1775-1865 29 paintings including work 2- & 3-dimensional configurations dealing of Edward Savage, Henry Inman, Gilbert with the visual aspect of language; also Stuart, Thomas Sully, Eastman Johnson, Robert Merline Severin roesen, Rembrandt Peale & Thom­ Sculptures created from found, Door Coun­ as Cole; UWM: Art History Gallery, Rm ty boat parts; Walker's Point Center for the 154, Mitchell Hall; 229-6205 Arts, 438 W National; 672-2787 MM Ml Now-March 27 Now-April 15 Jan Serr Two Windows Recent Prints & Drawings Stanley Ryan Jones & Demetra Coupoulos First Unitarian Society: Common Room 422 W National Gallery, 1340 N Astor; 273-5257 Now-April 24 Now-March 27 David Phelps Terrence J Coffman, Watercolor Figurative Sculpture Gregg Kumlien, Oil Painting Larger-than-life-size figurative sculptures Matthew Powell, Drawings with crackled surfaces by this Oklahoma Mary L Ulm, Oil Painting artist, which create the illusion of being em­ West Bend Gallery of Fine Arts, 300 S 6th, bedded in the floor; John Michael Kohler West Bend; 334-9638 Arts Center, 608 New York, Sheboygan; 1/458-6144 Now-March 27 Currents 13: Francesco Clemente, The Now-April 24 Graphic Work Magnificent Voyagers: 25 major etchings, woodcuts, lithographs & The US Exploring Expedition of 1838-1842 monotypes, derived from a variety of 400 objects & artifacts from the 1 st federal­ sources, including alchemy & mythology; ly sponsored expedition to circumnavigate MAM: Teweles Gallery; 271-9508 the globe entirely by sail; Milwaukee Public Museum, 800 W Wells; 278-2713 Now-March 30 Mary Ellen Mulvey Now-April 30 Original oil paintings; Elements of Art & De­ Tom Keller sign, 300 W Juneau; 278-0294 Surrealistic paintings, 3-d paintings & drawings; Bay View Malt Shop, 437 E Lin­ Now-March 31 coln; 744-4211 Contemporary American Hand '88 Objects in metal, clay, glass, fiber & wood; Now-May 8 group show of over 60 artists; Katie Gin- Focus: Craft From the Permanent Collec­ grass Fine Arts Gallery, 714 N Milwaukee; tion 289-0855 Representing a range of craft media, the exhibition charts the development of craft Now-March 31 as a purely utilitarian art to its current status Recent Acquisitions as a viable means for sculptural expres­ David Barnett Gallery, 1024 E State; 271- sion; MAM: Ross/pain Galleries; 271-9508 5058

Now-March 31 See eighty works of art by fifty of the /#%&. Tuesday, Wednesday, Friday and Saturday Janet Tenneson ADVERTISE IN world's most imaginative, contemporarv /2%f%i&k\ 10 to 4:30. Thursday fO to 8. Sunday Oil landscape paintings and monoprints; Art Muscle photographers. You'll find every- ^BSjBSS^ noon to 5. Opening night lecture by PAC: Magin Gallery thing from photos with altered surfaces ^9%%%y Anne Hoy, Curator of The International Next issue: May 15-July 15 to 3-D sculptural creations. Monday, ^fi&r Center of Photography in New York City. Ad deadline: April 25 "PHOTOGRAPHY ON THE EDGE" MARCH 24-JUNE 8,1988. MARQUETTE UNIVERSITY'S HAQOERTY MUSEUM OP ART THIRTEENTH AND CLYBOURN 35 March 30-April 24 April 22-May 22 Lee Weiss, Watercolor Joyce Scott DANCE EVENTS West Bend Galley of Fine Arts, 300 S 6th, Sculpture, jewelry & environmental instal­ West Bend; 334-9638 lations; also Joyce Scott & Kay Lawal will March 18-20 March 16,18,19,20,21 present a performance of their Thunder A Time to Mourn/A Time to Dance Auction April 1-30 Thighs Review on April 22 & 23 at 7 & 8pm; Annual Lenten Concert Fine art, graphic art, art deco glass, art Dave DeSalvo Walker's Point Center for the Arts, 438 W Amadeus Dance Company nouveau glass & oriental rugs; 7pm; $12; Pottery; new work; Elements of Art & De­ National; 672-2787 In a cathedral setting, the company will en­ Schrager Auction Galleries, 2915 N Sher­ sign, 300 W Juneau; 278-0294 act the traditional Lenten & Easter story man Blvd; 873-3738 April 22-May 23 through dance & visual imagery; F,Sa 8pm, April 1-30 Joe Draeggert Su 2pm; $6; All Saints Cathedral, 818 E March 22-26 MIAD Student Photography Jody dePew McLeane Juneau; reception 3/20 5pm at Amadeus, 34th Annual Southeastern Wisconsin Lighting & building interiors; Firestation Recent pastel paintings; opening reception 225 E St Paul, Suite 200; info 277-0772 Science & Engineering Fair Gallery, 5174 N Hopkins; 462-5509 April 22 5-8pm; Katie Gingrass Fine Art 9am-5pm; Marquette University: Brooks Gallery, 714 N Milwaukee; 289-0855 March 19 Memorial Union; info 224-7431 April 3-24 IPAAW Benefit Concert Jef Raasch April 23-May 21 Performances by Mark Anderson, Wild March 25 Paintings VANGUARD at Tera Space, Cate Deicher, Lynn Gilliam, Diane Poetry Slam First Unitarian Church, 1009 E Ogden; 273- Group show of 11 artist's work; opening Vanderhei, Milwaukee Music Ensemble, Bring your poetry & compete for cash 5257 reception April 23 6-9pm; Tera Rouge De­ Alexa Hollywood, Teri Carter, Joan Gonwa prizes; 8pm; $3; Golden Mushroom, 1572 signer Galleria, 225 E St Paul, Suite 404; & Tom Thoreson; 8pm; $7; Clavis Theatre, W Greenfield April 3-May 15 291-0202 2071 N Summit; 332-8467 MIAD Class of 1988 Graduating Senior Ex­ March 25 hibition April 27-May 29 April 7-10 MacCanon Brown Opening reception April 3 2-5pm; Milwau­ Comics & Cartooning/Art as Entertainment Edgespace Poetry reading with musical accompani­ kee Institute of Art & Design, 342 N Water; & Social Comment Betty Salamun & the DanceCircus ment by guitarist Gary Oleksyn; 8:30pm; 276-7889 Joe Heller, syndicated cartoonist for the 3 new works by Betty Salamun & a new The Coffeehouse, 19th & Wisconsin Green Bay Gazette & Walter Schmidt, pre- work by guest choreographer Feme April 6-30 WWII cartoonist for the West Bend News in Caulker-Bronson, Director of Ko-Thi; F,Sa March 25 Print Show the Upper Gallery; also 8pm, Su 3:30pm; Alverno College: Pitman Dance Party Robert Arneson, Lynda Benglis, Chuck Art of the Comic Book Theater, 3401 S 39th; 382-6044 Live Afro-Latin percussion ensemble; Close, Claes Oldenburg, Ed Paschke & Original art from some of America's most Shake Shake Shake those winter blues; 8- Philip Pearlstein among others; opening successful comic book illustrators, 1907 to April 15-17 10:30pm; $3; Stretch, 2625 N Downer; TBA; Dean Jensen Gallery, 217 N Broad­ date, in the Lower Gallery; West Bend Gal­ Southern Exposure 332-7160 way; 278-7100 lery of Fine Arts, 300 S 6th, West Bend; Deb Loewen & Wildspace April 10, May 8 334-9638 F,Sa 8pm, Su 3pm; $7/$4; Alverno College: Milwaukee County FREE Days at the Art April 7-24 Pitman Theatre, 3401 S 39th; 382-6044 Museum; all visitors free courtesy of Mil­ Milwaukee Photography Now April 28-May 8 waukee County; MAM; 271-9508 Group exhibition of contemporary photog­ Juried Student Exhibition April 30 & May 1 April 10 raphy; Alverno College: Fine Arts Gallery, Alverno College: Fine Arts Gallery, 3401 S Anxious Inertia Centennial Sunday Brunch 3401 S 39th; 382-6166 39th; 382-6144 City Ballet Theatre Buffet followed by a lecture at 1:30pm on 2nd Annual Spring Debut Frederick Layton & His World; reservations April 7-May 15 May 1-22 Premiering new works, with guest artists required; Milwaukee Art Museum; 271- Max Beckman Masterprints Tom Uebelherr back from -the Virgin Islands; Sa 8pm, Su 9508 MAM: Teweles Gallery; 271-9508 Opening reception May 1 2-5pm; Wright 3pm; $8/$3, patrons $25; Alverno College: April 10 Street Gallery, 922 E Wright; 265-7213 Pitman Theatre, 3401 S 39th; 382-6044 Salute to the Arts April 8-August 28 A variety of performing & visual arts groups 1888: Frederick Layton & His World May 1-29 May 5-8 throughout the museum; 2-5pm; free; Part 1 of the Milwaukee Art Museum's Eunice Stinchfield PM Ballet MAM; 271-9508 1888/1988: A Centennial Celebration; ap­ Calligraphy & Paintings Western Symphony proximately 100 works from the late 1800's First Unitarian Church, 1009 E Ogden; 273- La Sylphide April 16 drawn from the museum's permanent col­ 5257 May 12-15 Lautrec through MIAD lection & on loan from museums across the Swan Lake Annual open house & tour; food by La Bou- country, including works of American paint­ May 1-31 Th,F 8pm, Sa 2 & 8pm, Su 2 & 7pm; $5- langerie; Milwaukee Institute of Art & De­ ers Thomas Eakins, Winslow Homer, Reynaldo Hernandez $40; PAC: Uihlein Hall; 273-7206 sign, 342 N Water; info, Michele Krawczyk George Inness, John Singer Sargent & Photographs & paintings of his murals; Fir­ 276-7889 James McNeil Whistler, and European estation Gallery, 5174 N Hopkins; 462- Impressionsists Eugene Boudin, Claude 5509 Monet, Camille Pissarro & Alfred Sisley; CLAVIS THEATRE PRESENTS opening reception April 7 6-9pm; MAM: Vo- May 1-31 gel/Helfaer Galleries; 271-9508 Janice Baldry The City of Festivals' First Festival of Summer Stained glass; Elements of Art & Design, April 9-May 11 300 W Juneau; 278-0294 Passages & New Beginnings MILWAUKEE'S 3*& ^JuananH Susan Falkman May 6-August 28 Abstract marble sculptures; opening recep­ 1988: The World of Art Today tion April 9 5-8pm; David Barnett Gallery, Part 2 of 1888/1988: A Centennial Celebra­ FESTIVAL mm ONE - A C T S 1024 E State; 271-5058 tion features contemporary artists, includ­ ing Francesco Clemente, Eric Fishl, Jasper May 4 - May 22 April 10-May 22 Johns, Anselm Kiefer, Barbara Kruger, Su­ Now a tradition, Clavis Theatre ^The Talking Dog Five Generations of Leenhouts san Rothenberg, Julian Schnabel & Frank Original plans & drawings from this family Stella, and contemporary designers Frank presents Milwaukee's only by John Guare and of well known Milwaukee architects; UWM: Gehry, Michael Graves, The Memphis professional Festival of One-Act YClick Art History Gallery, Rm 154, Mitchell Hall; Group & Robert Venturi; opening reception plays. Featuring: by John Ferzacca in its World 229-6509 May 5 5:30pm; MAM: Journal/Lubar Galler­ ies; 271-9508 &The Road to the Graveyard Premiere Performancce! April 10-May 30 by Horton Foote Performances will be held on Suzanne & Adolph Rosenblatt May 8-22 OSIam Wednesdays through Sundays, Suzanne's drawings & Adolph's sculpture; Masters Thesis Exhibition Part II opening reception on April 10, 2-5pm will UWM: Fine Arts Galleries; 229-5714 by Jane Nixon Wills May 4th through May 22nd at the include a performance by Suzanne at 3pm 0Revue Sketches A&IV CLARIS rTtfEWIXZ, 2071 with Paul Cebar, Jesse Hauck & Ann File- May 10-14 by Harold Pinter North Summit Avenue. myr; Piano Gallery, 219 N Milwaukee; 276- Senior Show 3525 Alverno College: Fine Arts Gallery, 3401 S 39th; 382-6144 Three Weeks Only - Order Tickets Now April 14-Sept 4 Call 272-3043 Focus: Nineteenth-Century French Prints May 13-June 4 from the Permanent Collection Sally Kolf MAM: European Galleries; 271-9508 New paintings; opening reception May 13 8-11pm; Leo Feldman Galleries, Inc, 773A April 15-May 31 N Jefferson (alley entrance); open Sun­ Let the Park East Hotel be Arso Ivanovich days & by appointment; 289-0308 Crystallized watercolors; Aristoi, 2521 E Belleview; 962-8330 May 14-June 26 your chauffeur! Fields of Grass April 17-May 1 Exhibit highlighting the many & various Whether you're going to the Riverside Masters Thesis Exhibition Part I uses of grasses throughout human civiliza­ Theatre or the PAC, the Park UWM: Fine Arts Galleries; 229-5714 tion; Milwaukee Public Museum, 800 W East Hotel is offering complimentary Wells; 278-2702 transporation to our customers dining April 19-May 10 15th Annual Student Juried Exhibition May 14-Sept 18 in the Park Room Restaurant. Opening reception April 19 5:30-7pm; UW- Ukranian Folk Art Enjoy a delectable meal and Green Bay: Lawton Gallery, 2420 Nicolet Richness of Ukranian culture & folk art re­ let us take you to and from Dr, Green Bay presented through costumes, ceramics, carved wood artifacts & hand-decorated any major downtown Easter Eggs; Milwaukee Public Museum, cultural or sporting event. MAM - Milwaukee Art Museum 800 W Wells; 278-2702 750 N Lincoln Memorial Dr Ehe Park East Hotel 916 E. State Street 276-8800

36 Art Muscle April 16 & 17 April 15 & 16 May 14 & 15 Treasure Hunt at the Museum Great Lakes 1988 Video Festival A New Spirit in Painting: Six Painters of the 1:30-3:30pm; free w/museum admission; UWM: Union Cinema; info 229-3906 1980's Milwaukee Public Museum, 800 W Wells; Blackwood Films 278-2713 April 16 & 17 1984: 57min; George Baselitz, Markus Lu- A Room With a View pertz, Sandro Chia, Francesco Clemente, April 22 James Ivory David Salle & Julian Schnabel; 2pm; MAM; Bon Voyage Fish Fry 1986: 115min; A young English woman's 271-9508 MORNING GLORY 5:30-9pm; Milwaukee Public Museum, 800 journey into adulthood; 2pm; MAM; 271- THE BREAKFAST IN BED SERVICE W Wells; info 278-2702 9508 May 15 Elegantly Served in Your Home SoraKara April 24 April 17 Beautifully visualized, deeply ironic tale of 3514842 Dinosaur Dash Return of the Jedi repressed passion in turn of the century DISTINCTLY UNIQUE • TRULY A SPECIAL OCCASION 5K fun run/walk through the streets of Mil­ 12 & 2:30pm; $1; UWM: Union Cinema; Japan; 8pm; $2/$1.75; UWM: Union Cine­ waukee; sponsored by the Milwaukee Pub­ 229-4825 ma; 229-4825 lic Museum; info 278-2770 April 21 ?P*l HOLOdKAIA May 8 A Virus Knows No Morals 100th Birthday Party Rosa Von Praunheim, Germany LECTURES Family event featuring live entertainment & 1986: 82min; Controversial black comedy YOU PORTRAIT a giant birthday cake; 12-3pm; free; MAM; about the AIDS crisis; 7pm; MAM; 271- March 16 & 17 271-9508 9508 Portraiture: Facsimile? Power? Commis­ sion? A copies -W*295 May 9 April 22 & 23 Marianne Atkielski Senior Citizens Day Fatal Attraction W 11:30am, Th 12:15pm; MAM; 271-9508 The museum will be open exclusively to 7:30 & 9:45pm; $2/$1.75; UWM: Union seniors, with centennial tours & programs Cinema; 229-4825 March 17 for seniors; free; MAM; 271-9508 Yehuda Yannay April 23 Artist's Forum May 13 King Kong Yannay will present & discuss his newest Services We Offer Gallery Night Merian C Cooper film Jidyll, which he created in collaboration Fine Art Posters • Dry Mounting An opportunity to spend an evening gal­ 1933: 100min; The original, uncut version with Dick Blau; 7pm; $3.50; MAM; 271- Limited Edition Prints • Calligraphy lery-hopping; the evening begins with a lec­ of the classic monster film; 10:30am & 1pm; 9508 Museum Mounting • Art Restoration ture at the Milwaukee Art Museum at MAM; 271-9508 Brass Engraving • Frame Repair 5:45pm; participating galleries will be open March 18 & 25 Laminating ^" ' • Shrink Wrapping 6-9pm: April 23 Food, Flavors & Fragrances: Kitchen Al­ Before We Knew Nothing chemy Diane Kitchen Science Bag Lecture; 8pm; free; UWM: ® Art Gallery and FILM World premier screening of the filmmaker's Physics Building, Rm 137, 1900 E Ken­ Custom Framing 7 months with the Ashaninka people of wood Bay Shore Mall, 5900 N. Pi. Washington Rd. March 17 Peru; 8pm; free; UWM: Fine Arts Recital Milwaukee, Wl 53217 414/963-0717 Broken Mirrors Hall March 19 k d Marleen Gorris, Netherlands Edible Landscaping Bi-Monthly 1986: 110min; 2 narratives, one concern­ April 24 9:30-11:30am; $3; Boerner Botanical Gar­ Art Exhibits ing a group of women working in a brothel, Watership Down dens: Garden House, 5879 S 92nd; reser­ the other about a serial killer & his victim, 12:30 & 2:30pm; $1; UWM: Union Cinema; vations required 425-1130 are juxtaposed in this examination of power 229-4825 systems in our society; 7pm; MAM; 271- March 20 9508 April 28 Real Women — Do we have to know it all? Dark Eyes (or: The Death of Superwoman) March 19 & 20 Nikita Mikhalkov, 1987 Laura McGrew Voulkow & Company Tale of a rich idler named Romano (Mar- 2pm; $4; First Unitarian Church, 1340 N Malt Shop Susan Fanshel cello Mastroianni) who recounts his long Astor; info 475-0500 1075: 42min; The artist Peter Voulkos, a journey to rekindle a lost love; 8pm; 437 East Lincoln Ave. pivotal figure in the ceramics field, is seen $2/$1.75; UWM: Union Cinema; 229-4825 March 23 & 24 744-4211 working on a large-scale sculpture in his The Eye & Ear of the Beholder: Art & Poetry California warehouse studio; 2pm; MAM; April 29 Mary Danlman & Bert Spero 271 -9508 The Brothers Quay W 11:30am, Th 12:15 & 5:30pm; MAM; AEROBICS The American twins, who live & work in 271-9508 (East Side Location) March 20 London, are inventors who work in the On-going classes Major Barbara unique form called puppet animation; 8pm; March 24 Screen version of George Bernard Shaw's $2/$1.75; UWM: Union Cinema; 229-4825 Photography on the Edge JOIN ANY TIME! play; 3pm; free w/reservation; Charles Allis Anne Hoy, Director, International Center of St Mark's Church Art Museum, 1630 E Royall; 278-8295 April 30 Photography 6pm; free; Marquette Univer­ Hackett & Downer Faces of Women sity: Straz Hall; 224-7290 Tuesdays and Thursdays March 21 Two stories of modern African women in 5 p.m. and 6:15 p.m. The Hour of the Star the Ivory Coast; 8pm; $2/$1.75; UWM: March 24 & 25 Free Trial Class Brazil, 1985 Union Cinema; 229-4825 Martha Rosier Call Janet - 243.9331 7:30 & 9:30pm; free; UWM: Union Cinema; An artist & writer who has been outspoken MINIMUM PRICE/MAXIMCIM WORKOUT! 229-5986 April 30 & May 1 in her critique of cultural institutions, her The Biography of a Motion Picture Camera recent video productions include If Its Too March 25,26 & 27 Af films Bad to be True, It Could be DISINFORMA­ E T the Extraterrestrial 1947:17min; The evolution of film & motion TION; free; Th 7:30pm, UWM: Curtin Hall F,Sa 7:30 & 9:45pm, Su 12:30 & 2:45pm; picture projectors; with 175; F 10am, UWM: Mitchell Hall 121 $2 ($1 Su); UWM: Union Cinema; 229- Film First, Part 1 4825 Killiam Shows, Inc March 24 1963: 27min; An examination of the ideas, Spring Basket Workshop March 26 techniques & stories of film's early begin­ 10am-2:30pm; $16; Boerner Botanical Freaky Friday nings; 2pm; MAM; 271-9508 Gardens: Garden House, 5879 S 92nd; Walt Disney Productions reservations required 425-1130 1977: 95min; A mother & daughter magi­ May 6 & 7 cally change places; 10:30am & 1pm; Mishima - A Life in Four Chapters March 26 MAM; 271-9508 Yukio Mishima's affair with death by ritual Men's Issues Dr Boris Matthews suicide; 7:30 & 9:45pm; $2/$1.75; UWM: EVOLVING TOWARD OUR March 28 Union Cinema; 229-4825 Day-long workshop focusing on patterns of Tangos, the Exile of Gardel male development, the challenges men IDEAL OF MANHOOD Argentina/France, 1985 May 7 face as they evolve, and the attitudes & the hero's journey 7:30 & 9:45pm; free; UWM: Union Cinema; skills needed to attain full manhood; Tarzan, The Ape Man A DAY-LONG WORKSHOP FOR MEN 229-5986 W S Van Dyke 9:30am-5pm; $60; 8320 W Bluemound Rd; 1932: 99min; The first talking Tarzan film, info 475-0500 BORIS MATTHEWS, PhD April 2 & 3 starring Johnny Weissmuller; 10:30am & 8320 W. BLUEMOUND RD Time After Time 1pm; MAM; 271-9508 March 30 & 31 Nicholas Meyer Wisconsin Statements SATURDAY 1979: 112min; H G Wells travels through May 12 Janet Treacy & Susie McDonald MARCH 26 time to modern day San Francisco in pur­ The Chant of Jimmie Blacksmith Art a la Carte Lectures 9:30am-5pm suit of Jack the Ripper; 2pm; MAM; 271- Powerful tale of murder & flight in the Aus­ W 11:30am, Th 12:15pm; MAM: Cudahy $60 INFO: 475-05QQ 9508 tralia of the early 20th century; 8pm; Gallery of Wisconsin Art; 271-9508 $2/$1.75; UWM: Union Cinema; 229-4825 April 4 April 1,8,15,22 & 29 Gaijin May 13 & 14 Sounds in the Night, Featuring the Greater Brazil, 1979 UWM Student Film Festival Milwaukee Frog Chorus 7:30 & 9:30pm; free; UWM: Union Cinema; 7:30pm; $2/$1; UWM: Mitchell B-91; 229- Science Bag Lectures 229-5986 6015 8pm; free; UWM: Physics Building, Rm 137, 1900 E Kenwood April 11 May 14 Death of a Bureaucrat Leadbelly April 7 Cuba, 1986 The dramatic life story of Huddie Ledbetter, 1888: Frederick Layton & His World 7:30 & 9:30pm; free; UWM: Union Cinema; the black blues singer; 8pm; $2/$1.75; Philippe de Montebello, Director, The Met­ 229-5986 UWM: Union Cinema; 229-4825 ropolitan Museum of Art, New York; 6:15pm; MAM; Memorial Hall; 271-9508

37 April 8 March 24 April 15, 16, 18 April 22 & 23 Business & Art in Victorian Milwaukee — Aramis String Quartet Milwaukee Symphony Orchestra Bel Canto Chorus The Role of Art in the Community in the 8pm; $4/$2; UWM: Fine Arts Recital Hall; Zdenek Macal, Conductor James A Keeley, Conductor 1880s & 90s 229-4308 J Patrick Rafferty, Violinist 8pm; PAC: Uihlein Hall; 273-7206 Dr Frederick I Olson Rorem: String Symphony Business of Art Luncheon Lecture; MAM; March 24 Haydn: Violin Concerto No 1 April 23 reservations required; 271-9508 Gropp Mozart: Symphony No 40 UWM Symphony Orchestra Pete Christensen F,Sa 8pm, M 7:30pm; $10-$30; PAC: Uih­ Margery Deutsch, Conductor April 9 R & B Opera about the life of Father James lein Hall; 273-7206 Winners of the 1988 UWM Concerto Com­ 1888: Frederick Layton & His World Groppi; live music by a variety of local tal­ petition 8pm; $6/$3; Pabst Theater, 144 E Docent guided tours & films at 2, 2:45, 3 & ent; 7pm; Jewish Comminity Center, 1400 April 16 Wells; 229-4308 3:45pm; MAM; 271-9508 N Prospect; ticket info 871-3509 Philip Glass Ensemble 8pm; $6-$16; Pabst Theater, 144 E Wells; April 24 April 14,21 & 28 March 25-27 271-3773 An Olympic Journey Thursday evening lectures: Helen Reddy Milwaukee Symphony Orchestra Kinder- April 14: The Decorative Arts in 1888 Milwaukee Symphony Orchestra April 17 konzert 1 & 3pm; $4.50-$8; PAC; 273-7206 April 21: Community & Culture in Frederick JoAnn Falletta, Conductor Meg Stecker-Runde, Soprano Layton's Milwaukee F,Sa 8pm, Su 7:30pm; $10-$30; PAC: Uih- Civic Music Association Artist Series April 24 April 28: Frederick Layton lein Hall; 273-7206 2:30pm; free; Villa Terrace, 2220 N Terrace Jeana Ogren, Piano 7pm; MAM; 271-9508 Faculty Concert Series March 26 April 17 3pm; $5/$4; Wisconsin Conservatory of April 16 Annual Spring Concert Milwaukee Area Handbell Festival Music, 1584 N Prospect; 276-5760 Spring Tour to Shaker Village The Knightwood Ensemble 7pm; MECCA: Auditorium Pleasant Hill, Kentucky Highlight of the concert will be a perfor­ April 24 $399 per person, double occupancy; spon­ mance of William Schmidt's Concerto for April 17 Beethoven, Mozart & their English Con­ sored by Milwaukee Public Museum; reser­ Percussion, based on John Muir's diaries & Classical Chamber Recital temporaries vations due by April 8; info 278-2770 scored for percussionist, narrator, speaking Faculty Concert Series Penelope Crawford, Fortepianist chorus & winds; 8pm; $4; PAC: Vogel Hall; 3pm; $5/$4; Wisconsin Conservatory of Historical Keyboard Society April 17 info 543-6327 Music, 1584 N Prospect; 276-5760 3pm; $10; UWM: Fine Arts Recital Hall; Jung & Kohut: Comparison of Archetypal & 229-4308 Personal Views of the Self March 28 April 17 Lionel Corbet, MD Milwaukee Chamber Orchestra Marquette University Band Concert April 24 2pm; $4; First Unitarian Church, 1340 N Stephen Colburn, Conductor 2pm; free; Varsity Theatre, 1326 W Wis­ Spring Concert Astor; info 475-0500 7:30pm; PAC: Vogel Hall; 273-7206 consin; 224-7476 Alverno Women's Chorus 7:30pm; $2.50; Alverno College: Chapel, May 5 March 29 April 17 & 18 3401 S 39th; 382-6044 1988: The World of Art Today The New World Consort Fine Arts Quartet Russel Bowman, Director, MAM Ear'y Music Now Beethoven Cycle April 25 6:15pm; MAM: Memorial Hall; 271-9598 Renaissance works for voice, recorders, vi­ Su 3pm, M 8pm (different program each Paul Neubauer, Violinist ols & lute; 8pm; Milwaukee Public Library: night); $9.50/$7.50; UWM: Fine Arts Recit­ Artist Series at the Pabst May 7 Centennial Hall, 733 N 8th; ticket info 264- al Hall; 229-4308 8pm; $6-$16; Pabst Theater, 144 E Wells; 1988: The World of Art Today 8796 271-3773 Docent-guided tours & films at 2,2:45,3 & April 20 3:45pm; MAM; 271-9508 April 2 & 3 Great Music of Broadway & Operetta April 26 Milwaukee Symphony Orchestra UWM Vocal Arts Series Montclaire Quartet MUSIC Stanislaw Skrowaczewski, Guest Conduc­ 8pm; $6/$3; UWM: Fine Arts Recital Hall; 12:30pm; free; UWM: Union Art Gallery tor 229-4308 March 15-31 Norman Carol, Violinist April 27 David Carroll, Classical Pianist Milwaukee Symphony Chorus April 21 Soundscaping Concert Sa-Tu 11:30am-1:30pm; Melange Cafe & Brahms: Symphony No 3 UWM Symphony Orchestra Gregoria Karides-Suchy, Conductor Bar, 720 N 3rd; 291-9889 Skrowaczewski: Violin Concerto 12:30pm; free; UWM: Union Concourse A program of experimental music composi­ Bruckner: Te Deum tions; 8pm; free; UWM: Fine Arts Recital March 15-31 Sa 8pm, Su 7:30pm; $10-$30; PAC: Uihlein April 21 Hall Brown Bach It Hall; 273-7206 Utah Phillips T,Th 11:45-1:15pm; free; PAC: Magin Great Alverno Folk Series April 28 Lounge April 7-9 The grand duke of hobos; 7:30pm; $6.50; Jazz Vocal Ensemble March 15: Sylvan Winds (quintet) Milwaukee Symphony Orchestra Alverno College: Commons, 3401 S 39th; 12:30pm; free; UWM: Union Concourse March 17: Milwaukee Music Ensemble JoAnn Falletta, Conductor 382-6044 March 22: Aramis String Quartet Nadja Salerno-Sonnenberg, Violinist April 28,30 & May 1 March 24: Jaime Guiscafre (guitarist) Copland: Appalachian Spring Suite April 21-May 1 Turnadot March 29: Patricia Weis, soprano & John Barber: Violin Concerto Life on the Moon Puccini Komasa, piano Sibelius: Symphony No 1 Haydn Florentine Opera Company March 31: Tahlia Chamber Music Artists Th 11am, F,Sa8pm; $10-$30; PAC: Uihlein UWM Opera Th 7:30pm, Sa 8pm, Su 2:30pm; PAC: Uih­ Hall; 273-7206 Th-Sa 8pm, Su 4/24 2:30pm & 5/1 7:30pm; lein Hall; 273-7206 March 17,19 & 20 $8/$6; UWM: Mitchell Chamber Theatre; Ballad of Baby Doe April 9 229-4308 Florentine Opera Company A Musical Feast II Th 7:30pm, Sa 8pm, Su 2:30pm; PAC: Uih- UWM Symphony Orchestra lein Hall; 273-7206 Special Guest: J Denny Fischer, Piano Special Benefit Concert; buffet supper in­ March 18 cluded; 8pm; $20/$10/$5; UWM: Union Milwaukee Music Ensemble Wisconsin Room; 229-4308 Randall Vemer, Viola d'amore Soloist A concert of music from the Baroque & April 10 Classical periods and the 20th Century; Dolores Lenore, Piano 8pm; $7/$5; PAC: Vogel Hall; 273-7206 Faculty Concert Series 3pm; $5/$4; Wisconsin Conservatory of March 18-31 Music, 1584 N Prospect; 276-5760 Tony Kolp Jazz Trio F & Sa 8pm-Midnight; Melange Cafe & Bar, April 11 720 N3rd; 291-9889 Piano Portraits with Jeffrey Hollander Great Music from the Golden Age of Motion March 18 Pictures Pendulum 7:30pm; $6/$3; UWM: Fine Arts Recital Jazz vibraphone & piano; 8pm; $6-$9; Al­ Hall; 229-4308 verno College: Pitman Theater, 3401 S 39th; 382-6044 April 12 Woodwind Arts Quartet March 19 8pm; $6/$3; UWM: Fine Arts Recital Hall; Claudia Schmidt & Friends 229-4308 6th Annual Women's Crisis Line Benefit 8pm; $12; UWM: Union Wisconsin Room; April 13 937-5452 (day), 962-3257 (pm) Brass Choir Wayne Cook, Conductor March 20 12:30pm; free; UWM: Union Concourse The Cheiftains Traditional Irish music; 7:30pm; Pabst The­ April 14 ater, 144 E Wells; 271-3773 Montclaire String Quartet 8pm; $4/$2; UWM: Fine Arts Recital Hall; March 20 229-4308 Lynn Roginske with Special Edition Jazz Fusion Quintet April 15 Faculty Concert Series David Qualey, Guitarist 3pm; $5/$4; Wisconsin Conservatory of 8pm; $8; Wisconsin Conservatory of Mu­ Music, 1584 N Prospect; 276-5760 sic, 1584 N Prospect; 276-5760

March 20 April 15 & 16 Marie Sander & Ann Lobotzke Song of Norway Flute-Harp Duo Milwaukee Opera Company Civic Music Association Ensemble Series 8pm; PAC: Vogel Hall; 273-7206 2:30pm; free; Villa Terrace, 2220 N Terrace 38 Art Muscle April 29 THEATER April 18-May 14 April 30-May 15 Favorite Concert Waltzes Macbeth The Puppetmaster of Lodz Keyboard Conversations with Jeffrey Sei- William Shakespeare Gilles Segal gei Now-April 3 First Stage Milwaukee Milwaukee Repertory Theatre Music of Schubert, Weber, Brahms, Ravel Shue Biz M-F 10am, Sa 2 & 8pm; $5-$9; PAC: Todd Set in Berlin in the late 40's, portrayal of a & Johann Strauss; 7:30pm; $8.75/$6.50; Larry Shue Wehr Theater; 273-7206 man in the grip of the past: W 1:30 & PAC: Vogel Hall; 273-7206 Milwaukee Repertory Theatre 7:30pm, Th,F 8pm, Sa 5 & 9:30pm, Su 2 & A collection of the late playwright's unpro- April 20-24, 27-May 1 7:30pm; $6-$12; Stiemke Theater, 108 E April 29 duced works; T,W 8:30pm, Th,F 9pm, Sa Dames at Sea Wells; 224-1761 Wisconsin String Symphony 6:30 & 10pm, Su 5 & 7:30pm; $5-$7; George Haimsohn & Robin Miller Joanne Eggert Swenson, Conductor Stackner Cabaret, 108 E Wells; 224-1761 Marquette University Theatre May 4-22 7:30pm; free; Memorial Lutheran Church, (Run may be extended beyond April 3) A nostalgic look at the Hollywood musicals 3rd Annual Festival of One-Acts 7701 N Green Bay; 352-1160 of the 1930's; W-Sa 8pm, Su 7:30pm; Clavis Theatre Now-April 3 $6/$5; Evan P & Marion Helfaer Theatre, W-F 8pm, Sa 5 & 9pm, Su 2 & 7pm; $8-$11; April 30 The Tale of Lear 13th & Clybourn; 224-7504 2071 N Summit; 272-3043 Sweet Honey in the Rock Tadashi Suzuki with Ko-Thi Dance Company Milwaukee Repertory Theatre April 22-May 7 May 11-29 7:30pm; $12-20; Pabst Theatre, 144 E T-F 8pm, Sa 5 & 9:15pm, Su 2 & 7:30pm; A Lie of the Mind Albert Herring Wells; 271-3773 $6-$15; 108 E Wells; 224-1761 Sam Shepard Benjamin Britten UWM Professional Theatre Training Pro­ Skylight Music Theatre April 30 March 17-27 gram A send-up of staid life in the English prov­ UWM Wind Ensemble & Symphony Band The Adventures of a Bear Called Padding- The play explores the destinies of 2 fam­ inces; W,Th 7:30pm, F,Sa 8pm, Su 2 & 8pm; $6/$3; UWM: Union Wisconsin ton ilies, linked by marriage but set apart by 7:30pm; $13-$15; 813 N Jefferson; 217- Room; 229-6628 Next Generation Theatre jealousies & distrust; Apr 22,23,28,29 May 8815 3/17 7pm, 3/19,20,26 & 27 1 & 3:30pm, 3,5 & 7 8pm, Apr 24 2:30 & 7:30pm; $9.50; May 1 3/25 7:30pm; $6-$8; Alverno College: Pit­ UWM: Fine Arts Theatre; 229-4308 A Reunion of Old Friends man Theatre, 3401 S 39th; 382-6044 Scholarship Benefit Recital George Sopkin & Abraham Loft, original March 23-April 3 MADISON Fine Arts Quartet members will perform; Junebug Jabbo Jones, II UW-Madison: Union 3pm; $35 includes buffet reception; UWM: (You Can't Tell a Book by the Cover) ART EXHIBITIONS March 23-April 10 Library Conference Center; 229-4308 John O'Neal Wayang Kulit: Shadow Puppets of Java Milwaukee Repertory Theatre Now-March 26 Theater Gallery May 1 April 9-24 Rick Foris & John Mominee March 25-April 4 Psalm Settings & Secular Songs Loot New work; Grace Chosy Gallery, 218 N The Everyman in Noplace Series UWM Chorale & Madrigals Joe Orton Henry; 608/255-1211 Matthew Schwede; Main Gallery; & Robert Porter, Director A fast-paced look at a mad search for mon­ A State of In-Between 3pm; $4/$2; Temple Emanu-EI B'Ne Jeshu- ey; W 1:30 & 7:30pm, Th,F 8pm, Sa 5 & Elvejhem Museum of Art Jana Pullman; Class of 1925 Gallery; run, 2419 E Kenwood 9:30pm, Su 2 & 7:30pm; $6-$12; Stiemke Now-April 24 opening reception for above 2 shows Theater, 108 E Wells; 224-1761 Edward Potthast: American Painter of March 25 7-9pm; May 2 Summer & Surf April 15-May 8 Paganini Trio March 24-27 April 16-May 29 60th Student Show 7:30pm; $7.50/$5; Wisconsin Conserva­ Pippin Karl Schrag's Prints Main, Class of 1925 & Theater Galleries; tory of Music, 1584 N Prospect; 276-5760 Stephen Schwartz May 7-July 3 opening reception April 15 7-9pm; 800 The Milwaukee Players American Indian Art: The Collecting Experi­ Langdon; 608/262-2216 May 3 Th.F.Sa 8pm, Su 2 & 7pm; $8-$10; Pabst ence UWM University Choir Theater, 144 E Wells; 271-3773 800 University Ave; 608/263-2246 LECTURES 8pm; $2/$1; UWM: Fine Arts Recital Hall; 229-4308 April 6-24 Madison Art Center April 23 West Side Story Now-May 1 Linda Seger May 4 Leonard Bernstein In the American West: Photographs by Independent Hollywood script consultant The Western Wind Skylight Music Theatre Richard Avedon will give a one-day seminar focusing on the Early Music Now W,Th 7:30pm, F,Sa 8pm, Su 2 & 7:30pm; May 7-July 3 dramatic elements necessary to construct New York vocal sextet renowned for vir­ $13-$15; 813 N Jefferson; 271-8815 Photographs from the Permanent Collec­ a well-crafted, cohesive script for film & tuoso a cappella singing; 8pm; Milwaukee tion; also television; $75; UW-Extension, Madison; Public Library: Centennial Hall, 733 N 8th; April 10-May 15 Allan Rosenbaum; Drawings & prints info: Ellen Tyler, 608/262-6130 ticket info 264-8796 The Miracle 211 State; 608/257-0158 Felipe Santander PERFORMANCE ART May 5 Milwaukee Repertory Theatre Signature Gallery Penderecki & Montclaire Quartets A Mexican parish priest confronts the is­ March 28-April 30 April 15 8pm; $4/$2; UWM: Fine Arts Recital Hall; sues facing the Church today; T-F 8pm, Sa Images & Dreams of France: Giverny & Joseph Celli 229-4308 5 & 9:15pm, Su 2 & 7:30pm; $6-$15; 108 E Beyond Improvisational film & video; 8pm; $5.50: Wells; 224-1761 Adrienne Sager, Paintings; Opening April 9 Madison Art Center, 211 State; 608/257- May 7 5-8pm; 0158 (Call for info on workshops) Alverno College Community Orchestra April 11-May 6 May 13-June 25 Concert Charlotte's Web Truman Lowe, Sculpture & Wall Works April 23 8pm; $2.50; Alverno College: Pitman The­ Great American Children's Theatre Opening May 13 5-8pm; 184 W Main, James Grigsby Stoughton; 608/873-2000 ater, 3401 S 39th; 382-6044 Adaptation of E B White's story of the true Performance of From Here to Detroit & film, friendship between a tiny pig and a com­ And the Appurtenances Attached Hereto; May 8 passionate spider; M-F 10am & 12:15pm, 8pm; $5.50; Kanopy Dance, 315 N Henry; 608/257-0158 (Call for info on workshops) A Jazz Sundae Sa 4/30 & Su 5/1 1pm; $4-$7; Pabst The­ A vocal & instrumental performance with ater, 144 E Wells; ticket info 276-4230 Robert Porter, Director; 7:30pm; $4/$2; CHICAGO UWM: Union Wisconsin Room; 229-4308 April 14-30 The Miracle Worker ART EXHIBITIONS EVENTS May 12-15 William Gibson Mozart Plus ... Beethoven Acacia Theatre Company Now-March 26 Randolph Street Gallery Milwaukee Symphony Orchestra The inspiring story of Helen Keller; Th & Sa The She Birds April 30-May 10 Th $9, F-Su $6-$12; series (F-Su only) $30; 8pm, Su 2pm; $7-$9; Eastbrook Center Nana Schowalter (Wisconsin artist) Chicago Buy the Square Foot Pabst Theater, 144 E Wells; info 291-6000 Theatre, 2844 N Oakland; 962-2380 Sculpture; Artemesia Gallery, 341 W Supe­ Benefit/auction featuring over 60 Chicago or 271-3773 rior; info 608/523-4750 artists; auction 4/30 7pm; $25/$20; work on April 14-May 7 exhibit through 5/10 May 14 Sea Marks Art Institute of Chicago May 7 IPAAW at the Piano Gallery Gardner McKay Now-April 16 Art Expo Party With the Milwaukee Music Ensemble; 8pm; Theatre Tesseract Henri Cartier-Bresson: The Early Work 8pm; $5 $5; Piano Gallery, 219 N Milwaukee; info A bittersweet love story about a man, a Now-June 12 756 N Milwaukee Ave; 312/666-7737 332-8467 woman, the sea & the power of words; Th,F Georgia O'Keeffe: The Stieglitz Portraits, 8pm, Sa 5 & 9:15pm; $8-$10; 273-PLAY 1918-1922 May 5-10 Now-June 19 International Art Expo PERFORMANCE April 15-May 8 Georgia O'Keeffe: 1887-1986 Navy Pier; 312/787-6858 ART Arms & the Man (A film on the artist will be shown T & Sa, George Bernard Shaw 3pm) Michigan at Adams; 312/443-3626 PERFORMANCE ART UWM Professional Theatre Training Pro­ April 22 & 23 gram Thunder Thighs Review Museum of Contemporary Art Randolph Street Gallery Double-edged satire in which nothing Joyce Scott & Kay Lawal Now-April 3 April 8 & 9 works as the romantic's say it should; Apr 7 & 9pm; Walker's Point Center for the Arts, Cross References: Sculpture Into Photog­ The Shrimps 15,16,27,30&May4& 68pm, May 1 2:30& 438 W National; 672-2787 raphy; Performance/dance from LA; 7:30pm, May 8 2:30pm; $7.50-$9.50; Ed Ruscha: Recent Paintings; & April 22 & 23 UWM: Fine Arts Theatre; 229-4308 May 6 & 7 The Marshall Frankel Estate A Man Cannot Jump Over His Own Shad­ David Van Tieghem April 23-June 19 ow April 16-May 22 Solo percussion theatre performance; Francesco Clemente: Fourteen Stations of Richard Elovich (NYC); Holy Moses 8pm; admission at door; MAM; 271 -9508 the Cross; May 13 & 14 Milwaukee Repertory Theatre Christian Boltanski: Lessons of Darkness The ART Riots Featuring Milwaukee's Norman Moses & 237 E Ontario; 312/280-2671 David Wheeler (New Orleans) PAC - Performing Arts Center Carrie Hitchcock, with Jack Wilson on pi­ 929 N Water St Plus videos (This is Part I of Reconstruc­ ano; T,W 8:30pm, Th,F 9pm, Sa 6:30 & March 18-April 16 tion Series, continuing through May) 10pm, Su 5 & 7:30pm; $5-$7; Stackner Q Suzuki: Painted Constructions & Envi­ All performances 8pm: $5 $4 UWM - University of Wisconsin, Cabaret, 108 E Wells; 224-1761 ronments 756 N Milwaukee Ave: 312 666-7737 Milwaukee Kenwood Bivd at Opening reception March 18 5-7:30pm: Downer Ave Klein Gallery, 356 W Huron; 312/787-0400 39 TERESE AGNEW March 1 - April 14

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