A A BI-MONTHLY PUBLICAT Volume 5 J 3 •:-:•: £& limentary

x \r Editor-in-Chief Debra Brehmer

Associate Editor Calendar Editor Business Manager Mary Therese Gantz from t h e editor Associate Editor-Music Bobby DuPah

Just as we were trying to decide what would make a fitting New Year/Old Year cover, Associate Editor Nathan Guequierre photo editor Francis Ford was handed a Christmas present from costume designer Sam Fleming. The altered smiley dolls inside the package seemed eminently appropriate to Editorial Assistants Judith Ann Moriarty, Steve Kapelke & Mark Bucher represent the overbearing censorship disputes of the past year (and probably the ongoing

ones of the new year). Although it's dutifully necessary to take these battles seriously, Photo Editor Francis Ford there is an air of the absurd about it. History repeats itself, ad infinitum. Manet would be

quite surprised to see that society still becomes incensed over the same type of nudity Design Chris Bleiler that got him in trouble. Banner-waving reactionaries will always exist. And every few

decades or so the political climate will be just right to amplify their tedious concerns. Fine Design Assistance Jeanne Wisniewski art, by nature, pushes personal, ethical limits and pornography does the same and oc­

casionally the two become confused. The value of art in society will continue to be Sales Lisa Mahan, Angelia French questioned by those who have no need for it. It seems that there were many other issues

more deserving of the headlines — racism, the environment, poverty, AIDS, to name but Printing by Port Publications a few. The past year's freedom of speech conflict turned too quickly into a made-for-tv

melodrama. Here's Dennis Barrie, the embattled museum director, fending off the police. FRIENDS OF ART MUSCLE Here's Jesse Helms circulating the evil photos in a masterful play for pre-election air time. Perry & Bobbie Dinkin Ellen Checota Barbara & Jack Recht Barbara Kohl-Spiro Then there's the educated liberal mass who wrote and spoke reams of righteous "artists Jim Newhouse Thelma & Sheldon Friedman Peter Goldberg Mary & Mark Timpany must not be censored" responses, and even locally raised thousands of dollars to Theo Kitsch Dr. Clarence E. Kusik Gerald Pelrine Tina Peterman Jay Brown Babcock Mechanical advertise their platform in the newspaper. While Helms was manipulating our attention, Christine Prevetti Katie Minahan Richard & Marilyn Radke Richard Cler the country ended up on the brink of war. Bush's God Squad moved in to dismantle Dennis Hajewsky Patti Davis Harvey & Lynn Goldstein Robert A. Holzhauer Robert Johnston Gary T. Black environmental legislation and the more critical censorship debate, the one involving Polly & Giles Daeger Joel & Mary Pfeiffer Judith Kuhn Nicholas Topping women and minorities in the arts, remained, as ever, unacknowledged. Of course sexual Dorothy Brehmer C. Garrett Morriss Karen Johnson Boyd Geralyn Cannon Tim Holte/Debra Vest Roger Hyman discrimination and racism have been with us throughout history. It's a tired song. Jack & Ellen Weller Dean Weller Arthur & Flora Cohen Remy Centering a censorship debate around nudity is missing the point. The far more insidious Sandra Butler David & Madeleine Lubar Jimmy G. Scharnek Sidney & Elaine Friedman Mike & Joyce Winter Carolyn & Leon Travanti form of censorship is societally sanctioned and administered politely by those in suits and Mary Joe Donovan James B. Chase Jerome J. Luy Cynthia Kahn ties. But this lacks the intensity and clear boundaries of the Mapplethorpe fray. So, it's Nate Holman Chris Baugniet Patrick Farrell Riveredge Galleries Albert & Ann Deshur Bob Brue 1991, and once again, the issues that really mean something, the quietly oppressive Pam Jacobs Jewelry Burt & Enid Dinkin Ginny & Gerry Robbins Ello & Guido Brink forces, go unnoticed. Taglin Enterprises/Access Milw James & Marie Seder Harry W. Schwartz Bookshops Randi & John Clark Robert E. Klavetter Keith M. Collis Debra Brehmer Linda Richman Jewelry Mary Paul Richard Warzynski Joan Krause Janet Treacy Morton & Joyce Phillips Monica Cannon Haskell Delphine & John Cannon Jim & Julie Ansfield Daniel S. Weinberg Sharon L. Winderl Mary Streich Dori & Sam Chortek

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2 Art Mu/cLe ConTenTS

OhOStS jucher

KangarC a romanski

7 ArtlStl gruenwald

Interview ewis

AGO Letter EarMuscle Reviews/Previews Secondary Smoke Calendar Ison Roundup Chicago Roundup Walk This Way t

On the move Channel 10 has magnaimously footed the been hired to direct a new adaptation of Dr. Dance Circus has moved into permanent The Skylight Opera Co. is busy raising bill for another season. Jekyll and Mr. Hyde. Danila Korogodsky of studio spaces at 404 S. 7th St. in Walker's enough money to exercise an option on the Leningraad will design sets and costumes Point. With two rehearsal studios, office MKE Building. The Skylight on Jefferson Theatre Training Program for Jekyll as well as My Emperor's New space and room for classes, Director Betty plans to trade buildings with MKE in the headed for Paris Clothes. Salumun says it's ideal. The group is cur­ Third Ward. They need to raise a total of $5 Malcolm Morrison, director of the UWM rently seeking funding for a spring dance million to build the new theater onto the MKE Professional Theatre Training Program, will The Madison Art Center has hired Stephen program relating to the Silk for Life project. building and renovate office and technical take six students to Paris to perform at the Fleischman as its new Director. Fleischman Dance Circus is sharing the floor of the space in the building, which they will share Theatre Hebertot on Jan. 28. The group will currently serves as Director of Program building with Next Act Theater. with Theatre X (current MKE 1st floor occu­ perform Line. A second group of PTTP stu­ Planning for the Walker Art Center in Min­ pant) and another yet unknown theater dents will go to St. Thomas in the Virgin neapolis. He replaces David Berreth who Wild Space Dance Company, after being company. The new theater will have 375 Islands on March 24 to perform Noel accepted a position as Director of the Gari homeless for four years, has moved into seats and will be modeled after small re­ Coward's Private Lives and a musical revue. Melchers Memorial Gallery in Falmouth, VA. Lincoln Center for the Arts (Bauer Dance gional European opera houses. Beckley Co's old space). In exchange for rent, Wild Meyers is designing the theater. Renowned critic to speak Lisa James, fine arts manager at Alverno Space must provide 80 hours of Milwaukee Philosopher, art critic and author Arthur Danto College, was elected to the steering commit­ Public School service (student workshops, American Inside Theatre hopes to eventu­ will present the opening lecture for the tee of the National Performance Network. etc.). Wild Space also recently hired two ally purchase Ten Chimneys, the estate of exhibition Currents 18: Cindy Sherman - The NPN links emerging artists with per­ new dancers, Beth Mueller, 28, from Water- Alfred Lunt in Genessee Depot, where direc­ The Masters Series on Thursday, Jan. 24. formance outlets in 23 cities. Alvemo Col­ town and Ann Mosey, 30, from Minneapolis. tors Morrigan Hurt and Mark Simpson The lecture will be at 6:15 p.m. at the Milwau­ lege and Present Music are the Milwaukee curently live. They estimate they'll need $1.1 kee Art Museum. Danto is Johnsonian Pro­ affilitiates to the national program. Milwaukee Dance Theater has moved into million to purchase the buildings and $5 fessor at Columbia University in New York studio space at St. Mary's Academy, 3195 million to develop an outdoor theater and a City. He is also art critic for The Nation and Linda Stephenson and Jay B. Walkers will S. Superior St., Bay View. The Wisconsin museum. this year Rizzoli International published his head the 1991 fund drive for the United Conservatory of Music also had planned on book Cindy Sherman: Untitled Film Stills. Performing Arts Fund. A goal of $6.2 million moving into this building, but because it has been set. The dive was launched on hasn't been able to sell its current building on Arts' Place revived MIAD billboards Jan. 8. Stephenson is President and CEO of Prospect will have to wait until May or June. Arts' Place, the Channel 10 produced art The Milwaukee Institute of Art and Design Zigman Joseph Stephenson. Walters is The Dance Theater has also opened a school series, will return for a second season Jan. will launch a billboard exhibition in Febru­ Chairman and CEO of Blunt Ellis and Loewi. affiliated with the company and is offering 16 at 7:30 p.m. Featured on the program will ary. Called Vehicle Visions, a series of eight pre-ballet, theater and other classes. be John Kruth, Diane Stevenson (jeweler), billboards created by MIAD students will go Nancy Stephens was named Director of the Marvin and Janet Fishman collection of on view in the downtown area. The bill­ Continuing Education and Assistant to the The Milwaukee Institute of Art and Design German art and poet Jim Hazard. The Jan. boards were donated by Patrick Media Group Vice President of Academic Affairs at the will begin renovating its new building this 23 installment will feature Reynaldo Her­ and the designs were selected from a total of Milwaukee Institute of Art and Design. She summer and move in by the fall of 1992. The nandez, muralist; poet Susan Firer and a 30 submitted. most recently was director of regional devel­ Terminal Building is at 121 N. Broadway in behind the scenes look at a theater produc­ opment at Marquette University. the Third Ward. It will more than double the tion. Segment producers inlcude Darlyne Personnel news size of the school. MIAD needs to raise $9 Berg, Claudia Looze, Anthony Wood, Jim First Stage Milwaukee has hired two theater million toward the project and is about half Hazard and Dennis Darmek. Arts' Place was artists from the Soviet Union to work on its way to its goal. unable to find corporate sponsorship, so next two plays. Mark Weil of Tashkent has

Arts Midwest deadline ate an abstract painted steel tripod for the Brenda Leigh Baker, Madison; Mary Bero, White, Milwaukee. Development grants went Arts Midwest will award $150,000 in fellow­ District 6 Police Station, 3006 S. 27th St. Madison; Jerry Dell, Green Bay; Robert to: Dick Blau, Milwaukee, William Berens ships through the 1991-92 Arts Midwest/ Steven Feren, 45, UW-Madison, will create Gehrke, Eau Claire; Biganess Livingstone, (Aqua Velveeta) Milwaukee; and Laurie Beth NEA Regional Visual Arts Fellowship Pro­ a mosaic, concrete aluminum and brass Menasha; Lois Mogensen, Kenosha; Carol Clark, Madison. Jurors were Bill Horrigan, gram. The application deadline is March 29. sculpture for Engine House No. 23 to be built Pylant, Madison and Catherine Veit, Madi­ Columbus, OH; Margaret Caples, Chicago To request an application, write to: Arts at 2923 S. 20th St. Funding was provided in son. Jurors were Frances Kelly, American and Bill Palladino, Minneapolis. Midwest, 528 Hennepin Ave., Suite 310, the city's Percent for Art Program, in which Craft Museum, NYC; Hung Liu, Mills Col­ Minneapolis, MN 55403, or call 612/341- 1 % of the cost of public buildings is set aside lege, Oakland, CA; Stephen Luecking, De Milwaukee Foundation awards 0901 after 6 p.m. Monday through Friday, or for art. These were the first two commissions Paul University, Chicago. At its December meeting, the Milwaukee anytime on weekends, to leave your name awarded by the city's new arts board. The Foundation approved $1.2 million in grants. and address. Wisconsin artists are eligible two works were selected from 15 submis­ Literary Arts fellowship winners were: Judith Those involving the arts included: $25,000 for these 30, $5,000 awards. sions. Rachel Harway, Shorewood; Jesse Lee to the Milwaukee Symphony for a music Kercheval, Madison and Jeffrey Marcus, education program; $25,000 to assist with WPCA receives grant WAB applications Milwaukee. New Work Awards went to: Kelly the merger of Theatre Tesseract and Next The Milwaukee Board of Realtors Youth Wisconsin Arts Board guidelines and appli­ Cherry, Madison; Frederick Gaines, Apple- Generation Theatre; $10,000 to Artreach Foundation has awarded a grant of $3,000 cations for a variety of program and projects ton; John Clinton McCown, Beloitand Joce- Milwaukee for an anniversary celebration; to Walker's Point Center for the Arts to are now available. February 1 is the dead­ lyn Riley, Madison. Development Grants $15,000 to Friends Mime Theatre for a supports its after-school and summer art line for the following programs: Folk Arts went to: Richard Behm, Stevens Point; Br­ community arts program; $7,500 to Milwau­ classes for neighborhood children. Apprenticeships, Artistic Program Support idget Charmain Brown, Madison; Mark kee Chamber Theatre; $6,000 to Milwaukee II, Small Organization Support, Community Kraushaar, Madison; Dale Mona Kushner, Dance Theatre for renovating a new facility; Theatre Fest Awards Arts Program, Wisconsin Touring Program, Madison; Karen Boeb, Eau Claire and Lorrie $10,000 to Theatre X for research and writ­ The Milwaukee Theatre Festival has re­ Folk Arts Opportunity Grants, Salary Assis­ Moore, Madison. Literary Arts jurors were ing a play based on the life of George F. ceived several corporate awards to support tance, Artists-in Education and Educational Richard Peabody, Bethesda, MD; Julie Kennan; and $7,000 to Walker's Point Cen­ its 1991 festival. Marquette Electronics Opportunity. To receive applications contact Crutcher, playwright, Louisville, KY; and ter for the Arts for administrative needs. Foundation provided $12,500 for Next the Wisconsin Arts Board, 131 W. Wilson Marina La Palma, poet and critic, Los Ange­ Generation Theatre's production of Wait Until St., Suite 301, Madison, WI 53703,608-266- les. Milwaukee County Artists Dark. Wisconsin Bell provided $12,500 for 0190. Fellowship deadline announced Theatre Tesseract's production of The Boys Music Composition Fellowship winners Guidelines and applications for the third Next Door. The Gerda A. Debelak Fund of WAB grant recipients were: John Downey, Milwaukee and Eliza­ annual Milwaukee County Artists Fellow­ the Milwaukee Foundation provided $15,000. Individual Artist Program grants recently were beth Alexander, Madison. New Work Music ship Program will be available March 1, The Lynde and Harry Bradley Foundation awarded by the Wisconsin Arts Board. Three Awards went to: Joseph Koykkar, Madison 1991. Artists who received an application by provided $20,000. Other donations included types of awards were granted: $5,000 fel­ and Robert Levy, Appleton. Development mail in 1990 will automatically receive a new $3,000 from Allen-Bradley Company, $1,000 lowships; $3,500 New Work Awards; and Grants went to: Tino Gonzales, Madison; application. The deadline for applying is 4 from Badger Meter Foundation, $2,500 from $1,000 Development Grants. Fellowship Paul Hastil, Janesville and Joel Naumann, p.m. Monday, April 15. For an application, BDO Seidman and $2,000 from Northwest­ winners in the visual arts were: Carol Cross Plains. Jurors were Dorothy Rudd call the Milwaukee Artists Foundation at ern Mutual Life Insurance Company. Emmons, Green Bay; Karen Gunderman, Moore, composer, NYC; Larry Ridley, jazz, 276-9276. Fellowships will be awarded in ' Milwaukee, and Steven Van de Voorde, Ap­ NYC; George Cisneros, composer, Austin, the following categories: choreography, Sculpture commissions pleton. New Work Awards went to: Thomas TX. drama, film and video, interdisciplinary arts, The Milwaukee Arts Board awarded $20,000 Fleming, Wausau; Lee Ann Garrison, Mil­ literature, music composition, new genre, commissions to two University of Wisconsin waukee; David Genszler, Ashland; James Media Arts fellowships went to Dennis performance art, poetry and visual art. sculptors for public sculpture outside a fire Jones, Madison; Richard Judd, Oregon; Darmek, Milwaukee and Debra Robinson, station and police building. Narendra Patel, Jennifer Krantz, Milwaukee, and Rise Peter­ Milwaukee. New Work Awards went to: 61, a professor at UW-Milwaukee, will cre­ son, Cashton. Development Grants went to: Claudia Looze, Milwaukee and Iverson

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Wisconsin Biennial organization. For information contact Anne Wausau arts fest Walker's Point juried show Wisconsin artists are invited to submit work O'Meara at 271-4704. The 27th annual Wausau Festival of Arts, The Walker's Point Artists Association is to the 1991 Wisconsin Artists Biennial. Entry Sept. 7 and 8, is accepting applications from sponsoring a juried exhibition of member's deadline is April 15. Prospectus will be The American Yard artists wishing to participate. For an applica­ works at Walker's Point Center for the Arts available Feb. 1 by writing: WP&S, 341 Artists are invited to submit work to an exhi­ tion, write to: Wausau Festival of Arts, Pat­ January 26 through Feb. 10. Any artists over North Milwaukee St., Milwaukee WI 53202 bition entitled Artists and the American Yard. rick Bradley, PO Box 1763, Wausau, WI 18 years of age are invited to submit work. or calling (414) 276-2650. Jurors include Send up to 10 slides, resume and SASE by 54402-1763. Artwork must be delivered to the gallery on Holly Solomon, director of Holly Solomon April 1,1991 to the Charles A. Wustum Mu­ Jan. 23 between 10 a.m. and 6 p.m. for Gallery, New York; Joel Peter Witkin, pho­ seum of Fine Arts, 2519 Northwestern Ave­ Call for videos jurying by Evelyn Patricia Terry. Entry fee is tographer; and Alice Aycock, sculptor. The nue, Racine, WI 53404 (414) 636-9177. Walker's Point Center for the Arts is now $25 for non-members (includes $20 for one- exhibition will be June 27 to Aug. 31 at the accepting videos for its new video room. year WPAA membership) and $5 for WPAA Haggerty Museum of Art, Milwaukee. Milwaukee Fall Art Fair Submit a VHS video, title, resume and other members. Call 643-1732 for more informa­ The 2nd Milwaukee Fall Art Fair will be SPDt. pertinent information to: Walker's Point tion. Botanies show 21 and 22 in the Great Hall at the MECCA Center for the Arts, 911 W. National Ave., Artists are invited to submit work to Botan­ Convention Center. Artists are invited to Milwaukee, WI 53204. Deadline: ongoing. Auditions ies, a national juried exhibition of art relating submit work to be juried. Send four slides of Call 672-2787 for information. The Boulevard Ensemble will conduct audi­ to the botanical world. Juried by slide, $8 work, one slide of display, a resume and tions foran April production of Shakespeare's each. Deadline March 2. For prospectus business sized SASE to: Audree Levy, Invi­ Lakefront Festival Twelfth Night, directed by Amy Zeh, on Feb. send SASE to: Gallery Ten, 514 E. State St., tational Art Fairs, 10629 Park Preston, Dal­ January 25 is the deadline for artists inter­ 11,12 and 13 at 2250 S. Kinnickinnic. Men Rockford, IL61104, (815)9964-1743, las, TX, 75230. (214) 369-4345. Deadline is ested in submitting work to be juried for the and women of all ages and types needed. May 1,1991. Lakefront Festival of the Arts. Call the Mil­ One minute classical monologue required. Coalition for Accessible Arts waukee Art Museum, 271-9508, or write to Appointment necessary. Call 672-6019. A new Coalition for Accessible Arts has Dairyland Dears Lakefront Festival, Milwaukee Art Museum, been formed by Artreach Milwaukee. The Dairyland Dears is a new organization formed 750 N. Lincoln Memorial Drive, Milwaukee, Wis. Slide Review Coalition is an association of arts organiza­ to fight sexism in Milwaukee's art world. It is 53202 for an application. This year's jurors The West Bend Gallery of Fine Arts, 300 S. tions and individuals who are committed to a local branch of New York's Guerilla Girls. are Anthea Zonars of Betsy Rosenfeld Gal­ 6th Ave., West Bend, WI 53095, will have bringing the arts to all people regardless of The organization is interested in receiving lery, Chicago; Robert Sedestrom, ceramics Wisconsin Slide Review days on March 25, age or disability. Membership is open to anonymous submissions relating individual's professor at the State University of New 26 and 27. Wisconsin artists may submit anyone. Membership fees range from $10 to experiences with sexual harassment. Write York, New Paltz; and Warrington Colescott, slides for review by leading state art muse­ $100 per year, depending on the size of the to: Dairyland Dears, PO Box 93375, Milwau­ printmaker, UW-Madison. The lakefront ums, galleries and other art professionals. kee, WI 53203. display fee is $225. go//ip

Greetings gentle readers: Since the holly of winter, but that isn't stopping MIAD fine Building on Mitchell. . .Warm Gallery, the Rep. director, is on sabbatical and currently days are now behind us, I guess we could arts head Al Balinsky from dreaming about women's collective in Minneapolis, has directing a play at the Triangle Theater in recap some of the festive functions our pres­ that Harley he's got on order. A former closed its doors due to financial difficulties.. NYC. Meanwhile, the Rep is offering all ence may or may not have graced: We heard Honda man, he's decided it's time to finally . Musician Brian Ritchie's solo tape, / See civilian types the chance to appear in a play. (albeit from a secondary source) that the become A BIKER on a big, bad vehicle. Noise, was listed in the January/February For $100 you can join the jury cast in Inherit recession took its toll on the Quad Graphics AND, in another attitude adjustment sce­ issue of New York's Egg Magazine under the Wind, which opens Jan. 20. It's true, you celebration; seems instead of the usual lav­ nario, Dean Sobel is probably the nation's the "What's it to You" column where tapes can buy your way to the top! . . .A new ish spread employees dined on picnic fare. only art curator turned rock musician.The are rated according to how much of their organization called Marble Arch has been One disgruntled palate initiated a food fight Milwaukee Art Museum's associate curator $7.99 value they are really worth. Ritchie formed to promote awareness of architec­ by pelting Harry Quadracci with a wienie. debuted his new band, Debt Service, in came in at a respectable $4. 99. . The Art ture as an art form. Arch is sponsoring the Others followed. Now what kind of holiday December at Harpos. Look out for that Pre- Museum's German art exhibition was listed Jan. 24 Robert Stem lecture at UWM's School spirit is that? Meanwhile, in the valley, Mayor Rafaelite hairdo...The John Balsley art ma­ in the Critic's Voices column in the Jan. 7 of Architecture. . .Performance artist Moe Norquist and Susan Mudd were seen chine chugs on with a one-person show at issue of Time Magazine. . .Composer and Meyer was back in town during the holidays. perusing 10 Walker's Point's Christmas Lucy Berman Gallery in Palo Alto, Calif, this jingle writer Peter Buffet composed a piv­ He's been doing dissertation research in bazaar. . .The Rep Costume shop had a spring and another at Perimeter in Chicago. otal scene in Kevin Kostner's film Dances Africa. . .Holly Brown, back in town from bouffant bash extraordinaire with bee hive, He was also asked by Howard Finster to With Wolves. . . .In a burst of marketing Australia, did her return performance at pompadours and x-mas tree hairdos for those install one of his sculptures in Finster's brilliance, the Chicago Art Institute invited all Partner's to a packed house. As feisty as daring enough to doo it, as always the food Garden (next to Keith Haring's!!).. .Milwau­ the cab drivers in the city to have breakfast ever, Holly's starlet dazzle never ceases to was sublime. . .Beans and Barley's X-mas kee artist Tim Haglund will have his first at the museum and take a tour of the From tantalize the crowds. Newscaster Marty party at Von Triers was a camivorous(l) Chicago show at Arc Gallery Jan. 29 to Feb. Poussin to Matisse exhibition. The museum Burns Wolfe and hub Gary were there as affair, hmmmmm. . . .Anthony G. and 23. Sculptor Demetra Copolous is one of then thanked them formally for their role as well as Mrs. Fun and many other notables.. Lawrencia's parents showed up at Leo the "furious women with furious art" ac­ "street ambassadors" of the Chicago art .Space Captain Commander Green was Feidman's 14th annual holiday craft fair at cepted in the Sister Serpents exhibition at scene.. .Jeff Hayes, UWM Art History Dept. also back making merry in the motherland, the Hotel Wisconsin to sign a giant x-mas Artemesia also in Chicago. Both shows head, and wife Leslie Fishman had a baby relaxing with rellies taking a breather from card for Lawrencia. . Cheech Marin sur­ open Friday, Feb. 1 from 5 to 8 p.m. J. Karl boy, Zachary, in December... Kelly Peduzzi "filling all your custom alien needs" in prised the staff of Conejito's by joining the Bogart currently has a show at Peter Miller (writer) and James Mundy (MAM Curator) Forestville, California... Milwaukee contingency of wife, Patti Heid's, Gallery in Chicago. . .Painter Kenn Kwint are due to have a baby on April 25 (Julian artist friends.. Newscaster Nancy Chandler has a new studio on Muskego Ave. and is James if it's a boy, undecided if it's a girl).. As always, ready for an earful, was the life of the party at a Bradley Center currently working on a book of his drawings .The Art Museum's Deidra Walls and thea­ X-mas party, decking the halls in a short and prints. Muralist Reynaldo Hernandez ter technician Rob Munger are going to black, leather mini skirt.. .It may be the dead has a work in progress at the Wisconsin Gas have a baby too...John Dillon, Milwaukee Miss Yvonne PS: We'll be looking for you in '91.

Paparazzi photos by Jim Brozek: From left, prolific writer Michael Home attends a holiday bash; top, Andrea Taxman oversees the Dillinger preview at Renaissance Place; bottom, Kris Martinsek of City Development and Gary Knoles, Wis. State Tourism Dept., at the Dillinger preview; photographer J. Shimon makes merry at the Feldman X-mas craft fair, and performer Holly Brown does the same. Host Jan Weller

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6 Aft Mu/cLe Letter hoMe

A year ago on Friday, the 13th of October, roadway is 1 iterally darkened by the height Pete Christensen made his last morning of the trees! drive broadcast from WMSE studios in downtotun Milwaukee. That evening be Canadian customs are unique. Friends performed two shows at the Comedy Cafe are "mates," beer is sold by the sack and. and the next morning left to pursue a half-sack, American coffee means "cream comedy career on Canada's west coast. andsugar," Canadian coffee means "black with brown sugar." Prostitution is toler­ Dear Art Muscle, ated while solicitation is not. If you pick up a woman on the street you are liable It's not that I didn't like Milwaukee, but for arrest, but going to a "parlor" is safe, the constant juggling of comedy, radio and often it's considered proper to ask and writing had to be eliminated and I the local Royal Canadian Mounted Po­ had to focus if I were to really succeed lice. Don't get me wrong, this routine isn't back home. If you miss me, I'll be return­ practiced everywhere. Oh yes, Saturday ing to work at Sum- night is Hockey merfest in July. Night two thirds of the year and cars get I'm finally a regular! litres per kilometers, Though I've toured not miles per gallon. California, Idaho, Oregon, Utah, Mon­ I'm really focused tana, both Dakotas, now on comedy, Washington State, and I've gone from British Columbia and being a full time jock Alberta, I'm now at and part time The Punchlines Club opener comic to in New Westminster being a full time and Vancouver, Can­ feature performer. ada. It's what I left Mil­ waukee for. I have a You don't have to be in Milwaukee to be clean routine with social overtones, but I a film extra, because I found work as an realize I'm still two years from being a extra in two independent films and sev­ headliner, so I work hard on my writing eral American productions in Vancouver, and presentation. Still, I have time for including Wise Guy. Being a wise guy learning the art of juggling and I'm taking finally has paid off. guitar lessons.

If you want to hear about elegance, I've Arizona and New Mexico are next on my worked such venues as the Dominion tour schedule and I've just finished a film Hotel Lounge on gorgeous Vancouver treatment for a Canadian producer. Addi­ Island and the Colorado Hilton chain. tionally, I'm being considered as a con­ But on the other side of this high are the tributor to a national comedy show out of hell gigs at logging camps at Port Alberni Seattle. u r r e n . t and Prince George (don't let the name fool you) deep within the Canadian inte­ At thirty-something, I probably won't 1 8 rior. These camps are typified by huge ever become famous, since the big guns rooms consisting of legal gambling, $5 are searching for younger image talent; beers and audiences numbering more however, if I can become a headliner cindy than 500 O50 drunken lumberjacks, 100 comedian with a good, clean reputation prostitutes and 50 unwed teenage moms), and a comfortable income, I'll have more SHERMAN: all of whom don't consider themselves in my pocket than most Wisconsin farm drunk as long as they can still swim to the boys could ever dream of. The Masters Series bar in their own vomit. To reach these comedy infernos it takes several hours of I sleep well at night, too. I oughta hard driving, plus at least a two hour ferry know...I'm Pete Christensen. See you in ride up the Canadian coast. But it's worth July. it, as eagle, bear, seal and whale inhabit the sea along the islands of the Georgia Pete Christensen Strait and I've been in forest so dense the

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Tllll CHARLY^ PALMER ••mi DOROTHE A TAYLOR One Man Band, 71" x 98" 1986 ONEI ESS: An African American Persp ictive GEORGE GREEN Acrylics, Drawi ;s, and Pastels Feb 15 - Tarch 30 Recent Work January 18 - March 31 Tuesday-Saturday 9-5 p.m. Dennis Uhlig OPENING RECEPTION 207 North Milwaukee Street, Milwaukee, WI 53202 Fine Art Gallery Fri. Feb 15 6:30 - 9 1932 E. Capitol Reception for the Artists 414-273-3097 800-277-3097 964-6220 Sun. Feb 17 - 1 - 4

6 Art MU/cLe ear Mu/cLe

DEAD MUSICIANS SOCIETY

(Ear Muscle is a regular music column ence - probably a girl friend and some­ honed abil ity to imbibe and ingest. xMix in whiten by a member of the local rock body else - were meager testament to a I go equal doses of pressure from the com­ band, Monkey Bar, who is an editor of lifetime spent playing music. are so fucking rich, pany to produce more songs, pressure Have to score when from the public to be a showman both on Accc lends, the last years of his I get that ric% white and offstage and boredom and you have .iotas dismal as that show would punk itch. rt who By Bobby DuPah but something in his makeup or Set up real cla§sy s guitar ig about playing music contin- living in a chateau, ormer. It's no big secret that rock musicians kilt io drive him to indulgence and even­ So lonely all the other ged to themselves with drugs nor is it any mys­ tual death. kids will never know% nurture his ability to stay free so thai he- tery why this is so. Yetl fee! compelled to can write music (discipline is what makes write about the recent death of one Mil­ §§As a rock musician, I've witnessed the most of us incapable of creating) is now waukee born musician who had come kind of self-abuse that leads to these so- Think of it, most art deals with pain. home having gained a fair measure of called accidental deaths. And while it's Those who feel it most intensely, either success. Dan Schmidt came home and I easy to write them off to a devil-may-care because of a heightened sensitivity or All this overlooks something much more I lifestyle, I wonder whether something because of actual overexposure to it, make central to the topic - rock is the anthem I else is at play here. When you consider the best artists. Toulouse-Lautrec was an of the teen, the rebel. Even though it may | the strange con icteris- I remember seeing Dan at a Sunday school alcoholic, ... >rphine have been the nature of the industry which tics that are rock fair in 1967. He was playing drums- very- a addict; whe s of art cut the amount of time one could spend well - with a power trio (drums, bass & performer 5 self- or simply that they needed art to vent a in the spotlight to two or three years, it destructic guitar) in a 15 X 20 foot classroom. The mad soul c and/or also made sense to weed out old rockers group was doing Cream covers and I was madness se sts. as they approached the age of those they inspired. I had started playing in bands by First you t he pa­ targeted in their songs. As Bobby Zim­ then and hearing these guys spurred me tience an;. --lay an We land our rock vis e final merman once said, "fearing not that I'd on. Later when 1 heard that Dan had gone instrument. While other kids are out destination for 99 out of 100 rock musi- become my enemy in the instant that I to New York with Howie Epstein (the real having snowball fights, this kid is alone s — the club. Playing for people who preach." An inner fear of that happening Milwaukee success story who has played practicing his guitar. Sure his motivation here to hear about your pain because could drive one to drugs as an elixir of with Tom Petty for the last 10 years) and ||nay ie less austere than that of his fr :ht then be able to forget youth or as it becomes obvious that that appeared on a Village People album, I Jolph who is practicing the pian ecause hearing about isn't working, an escape from thcundeni- was impressed and felt lucky to have had )ut Randolph is probably r makes them think they're not alor able fact of aging. Running away from early contact with what turned out to be .1 than our future rocker. Worse, people who don': age- like running up the down escalator fabout anything bees - Is a futile gambit. Far more reasonable

i rocker's choice to be ' -• - • = " ' ~i to save the image in the suspended ani­ The next word I caught about Dan was ay have earned his re- there to pick someone up, you sing your mation of death. Let us not forget the that he was back in town, working at a ":."":- : : t other SOvJ :;.,:'.;: Sb'i:r;.p£S< ] watchwords of our faith: HOPE I DIE BE- kids found unpleasant. Anybody who E I GET OLD. • '• ' '•": ' - • • ~ \ . :..... - • -..; • •: -'-".•-"--.--: : ' .capiiva&ig j,:.;.";;- : 3 finale to a 3 The owls . . :cture, one it "- - - hatsurpris- no more ma Suicide? Ac Intent on fame. He's been urprising in the even though you never be ::c .".v. • . ' • " •..•"'.'.' •• water i figures, 'Hey, these jit I caught at the partied like one. In ay you These are drug veterans. Bio-chemists guys never p college, I've got as k Dan had been Were an entertainer, a super-human who need c •-...-- good a chance as anyone and I've got ctan who'd could turn it on once you hit the stageihut effects nothing to lose. I can always come back finish a show at 3:00 a.m., find a jam for whom normal life se cards. Granted, once the drugs take ef­ and step into line next to Homer at the session somewhere and play the night fect, the accuracy of judgment fades, but away. It formed a romantic image. New :.' Few escapes rival were your way of bringing out the Mr, the "mistakes" that cause most of the drug York, jam sessions, recording sessions ereinwork Hyde that was no- deaths are on a scale that more than blurs with members of Stedy Dan and Leslie be a requirement. I won't your set starts at 2:00 a.m. the line between negligence and inten­ West - the stuff legends arc: made of/die at just yet. ~h to keep you stoked tion. But who cares? They're only rock n ode. And let's not forget rollers anyway. Eminently expendable, We skip ahead to r. sackstage was a with a horde of yo^ garage ba ::ry of Dan is poignant, , .... , ...... ready to step in ; ir to bar one Tuesday alcohol - rock's milieu. Rock, child of not necessarily disastrous. Not unless that '.'". ....'.::.''•..'..•'.,•;.. . .::-\i. ; bl ues, R&B and soul k nows the street and night, I found him play in . pie in the sky happens to land on your -: anything but a power trio. And though the factory and the escape they demand. childgoesawayand fame stops requiring the size of the stage wasn't much different There are no rock songs about having it the famous to be larger than life. ^^ than that first Sunday school classroom, too good. Nobody but your mother wants You've been discovered. As one friend is Dan was decidedly different. Looking to hear about how good things are going wont to say, after 15 years of beating your well past his 33 years, looking burnt out, today. Even when the rich kids started head against the wall, you're an over­ it was obvious that his lifestyle had taken dabbling in it they complained via the night sensation. Now you have money, a its toll. The other two people in the audi­ lot of time to kill on the road, and a well ARTISTS FORUM "The Art of Science Dillinger and Science Fiction" Oliva Villaluz-Peters |p Jon Lomberg + Set decorator for telefilm Dillinger Emmy Award winning artist of shot in Milwaukee "COSMOS" series

Thursday, February 28,1991 6:15 pm Thursday, April 25,1991 6:15 pm

All Events will be at the East Entrance • Milwaukee Art Museum • 750 North Lincoln Memorial Boulevard • Milwaukee, Wisconsin Sponsored by WP&S Inc., and the Cudahy Gallery of Wisconsin Art po/t-facto

A DECADE OF becomes an amplified caricature of the Concerto for Myself a shared birthday An artist who wants to "teach with the way we perceive and interpret nature. card extraordinaire, was Snopek at his tools that God has given" uses African WISCONSIN ART wildest and best, as he worked bass imagery as a source of pride. For 23- Older works such as Emily Grooms' clarinet, trombone, Indian bells and year-old Ammar Kevin Tate, black is ACQUISITIONS Still Life bouquet of flowers and the impassioned vocalization in and big and bold, and so is the violet color Cudahy Gallery of Wisconsin Art social realism of Sylvester Jerry's around a bank of equipment blipping which he lavishes liberally on three Milwaukee Art Museum Unemployed, 1932, speak so specif­ pre-recorded instrumentation. Floating portraits of three women. The overkill Through January 13 ically from an historical time that they and sensual — not New Age, but new title, African Violets, seemed initially take on the quality of documentation. from the heart and head. This silly, but once I got past the startling It's hard to think of these works as composer, at age 40, knows and likes black and blue-ness, I saw interesting anything but "period" pieces. In himself. facial expression, careful draftsmanship another 50 years, it will be the works of and a challenge to think of broad flat Broenen, Mulhern, Sebastian, Colt, Theoretically set up as if it could "go on noses, thick lips and nappy hair as Nichols and Uttech that will appear on forever, like a baseball game," the final naturally wonderful. Tate's choice of this "other" side of the gallery and a work was a sensual exchange between violet and blue pastels exaggerated the new body will take over the piano and pianist. The instrument burnished darkness of the subjects' contemporary side. The test of time is a literally opened to receive balls, bells, skin, and on second thought, the title harsh one and only the exceptional will foil and erasers. Snopek teased the African Violets rang true. age gracefully. Perhaps overall this piano and made life-eternal a exhibition is a rather sad witness to the possibility, if only in the heart of Self-taught and straight out of the Calmness of the Heart. If you missed Tom Uttech, Otatakan Passage, 1985, MAM. most predominant and enduring political activism of the turbulent '60s, stylistic trend in art: mediocrity. the party in 1990, try to catch it in the Chris Williams and cousin Dennis Byas In an exhibition such as this, one has to Wisconsin art is not a high priority in year 2030. And who cares if Siggie's paint from their souls. Williams, the assume that what is on view is work the museum's mission (rightly so for a hair is thinning? looser of the two, admits he "used to the Art Museum has deemed the "best national institution) and this randomly fudith Ann Moriarty do florals and landscapes," whiter than of Wisconsin art, because this is what assembled collection documents that white, and sold them to employees at the museum chose to purchase for its lack of concern. his workplace. A paint chemist by permanent collection. The Art Museum, Debra Brehmer trade, he now works seriously from his however, has no space permanently EMERGING heart. His large oil, The Gathering, is a dedicated to Wisconsin artists, so we EXPRESSIONS guess-who's-coming-to-dinner parody also have to assume that after this brief Native Mllwaukeeans of Leonardo Da Vinci's Last Supper. showing, most of it will go back into SICMUND SNOPEK III December 20-January 15 The table, presided over by Martin the basement vault for another decade Firestation Gallery Luther King, features the Reverend or so. What this show does allow us to 40th Birthday Party Ralph Abernathy as a sell-out Judas. November 16-17 witness and question is the Art The Firestation Gallery, 5174 N. Guests who sup social activism include Walker's Point Center for the Arts Museum's selection process and the Hopkins Street, is unique in the city. Rosa Parks, Jesse Jackson and John F. durability of these works. Now that the Intent upon diffusing Milwaukee's Kennedy. Parody is as old as the pieces have entered the permanent centralized culture and giving it back to classical hills, but Williams has a collection, how will they fare as the the people, the Northwest Side charmingly chilly way of reminding chosen representatives of local art Community Development Corporation, viewers that these issues are still at a historical signifiers as they age? How which runs the gallery, admits its major rolling boil on the front burner. will these pieces look 20 years from interest has never been art. They now? simply use art as one of many tools to Dennis Byas, who works in the art move the magic culture halo out of department at Brown School, showed In one half of the gallery are the downtown, letting it pick up the glow three paintings, two of which dealt contemporary "big and bold" and of reality based on broader community with oppression of the young black "corporately correct" schools. In the concerns. A place for all artists, the male. The strongest piece, however, other half, the older, 1930s romantic, Firestation Gallery brings art closer to was Neutral Beauty, a portrait of a social realists. While it is a dramatic the people who live far from center Masai woman, head shorn, wearing contrast, what's interesting is that some city. It is a vision well served. neck rings and an expression of pride of the contemporary work already and distrust. Smooth and glowing, it looks outdated. John Broenen's large, Sigmund Snopek III. Emerging Expressions featured four lacked, blessedly, the National neo-expressionist painting, fohnny local African-American artists. It was a Geographic syndrome which affects (1984), represents the brief return of show by blacks and about blacks. It painters hell-bent on recording feelings slash and gnash expressionism. The Celebrating his 40th birthday, was Black with a capital B, and once outside their realm of experience. screaming canvas paraphrases a consummate Milwaukee composer my white mental blocks toppled, I Beauty, like all of the work in this stylistic tendency circa the early '80s. Its Sigmund Snopek III eschewed cake enjoyed the majority of the work. Fresh show, felt authentic. large size and agitated brush work and let 'em eat music. Luscious music. and competent, the art was for the most draw attention, but do not make an In a performance of two new works part coldwater splashes, far from the (The next exhibition at this spunky engaging statement. The same goes for and piece from 1972, Wisconsin's tepid bubble baths of CEO-land and space features the work of 79 year-old Mark Mulhern's large The Urge to musical bad boy tossed balls (rubber narcotizing plunk art. How tiring are BayViewer John P. Otis. A Worship (1983). This artist's two smaller balls, glass balls), aluminum foil, verbal artists who pretend to understand photographer and collector of things works on paper more successfully curves and glorious glissandos during Native Americans, Hispanic culture and odd and even, he will exhibit reveal the intimacy of his psycho­ this intimate and impish bash. Glad to blackness! Those clumsy heaps of Milwaukee scenescapes. To Feb. 28.) therapy sessions. Among the tamer be out of the bar scene, if only for two twigs, sticks, styrofoam and modeling- fudith Ann Moriarty works are John Colt's Green Conch nights, in a place where people listen paste pueblo "mud" and cowrie shell from 1983, with his signature misty without benefit of beer and brats, junk are thrown together in a soap washes and atmospheric rendering — a Snopek shared a memorable natal opera effort to identify with otherness. SELECTED SCENES safe, pretty painting — and William night. This show lacked pretension. Praise the Weege's 1978 Rhapsody in Gary, Lord. MPS Adult Acting, Girl Crazy, Miss tendrils of paper pulp draped in a Magarida's Way, Enemy of the Sparsely thatched, powerfully built and cobwebby pattern and encased in a People, A Midsummer Night's wickedly wonderful, Snopek lit up the plexi box. Why the museum felt Artist Loretta Jordan attended the Dream, The Desire of the Moth for night with starburst sounds: electronic, compelled to purchase this piece, one Milwaukee Institute of Art and Design the Star demonic, stratospheric and decidedly can only wonder. (expenses limited her to one year) and diverse. The event, funded by the — more importantly perhaps — Wisconsin Arts Board (Pan Wisconsin worked as a beauty advisor for Estee The work that seems to withstand the '90), was a tour de force-farce by a Lauder. She (stranger in a strange land) test of time contains a quirkier solidly-trained musician who attained brings these schizophrenic experiences sensibility, where the artist is not national success at age 19 and hasn't to Man and Woman. Two large heads, tethered to a time frame. The stopped rolling since. the Perfect Caucasian Couple, hover photographs of Janica Yoder, while over a naked and painfully bald presented in kodachrome sheen, Avenue Fanfare, a four-minute techno- headed black woman/mannequin. feature closeup parts of a woman's face pop ode to Wisconsin Avenue, served Waiting passively to be clothed (from and body. There is a sensitive prodding up quadrants of Apple Pie Americana above) by white fashion dictates, the and documentation that defies the very and tossed in just enough soy sauce, work brings home the message of formal framing. Even Steve Foster's giving Milwaukee's east-west fast track A Midsummer Night's Dream. oppression as "up there somewhere," Photo by Alan Magayne-Roshak. quiet, murky landscapes, which are not a gee "whiz bird's eye view. Stages 15 waiting to drop on the shoulders of fetching images, contain a meditative (now celebrating an 18th anniversary) blacks who don't see black as beautiful. A few weeks ago, the Milwaukee quality that resonates with his personal, was based on Herman Hesse's Glass Buy the white world's magic Public Schools adult acting class made obsessive mission. Tom Uttech's Bead Game. Divided into fifteen changeover and you buy the whole its final presentation. The class, offered characteristic neon nature scene fits elements marking life's passages, this package. Racist instructions included. by the adult outreach program, was nicely into a Wisconsin frame of mind piano composition, played by master Jordan, a free lance illustrator, uses taught by Peter Reeves (a former and also documents his mature pianist David Bohn, was tumultuous quik-techni-slick tricks, but her cold member of Clavis Theatre and current exploration of the theme. This is a and discordant, with tender transitory cream masque needs closer inspection American Inside Theatre member). particularly strong work. Artificially lit moments reflective of the few quiet to see what's under the top layer. The presentation allowed students, and exaggerated, the natural world times on the way to the grave. who ranged widely in age, to present io Art Mu/cLe preview/

monologues and short scenes to family, trite evening. Midsummer, directed by ways of manipulating materials to Saxophone Quartet, Obie/Bessie- friends and invited guests. The raw Malcolm Morrison, traveled a middle create something new. Arc, for winning designer Huck Snyder and effort and sheer energy demonstrated road that offered enjoyable moments, example, which rocks on curved metal lighting designer Robert Wierzel. by many people who had never acted but succumbed at last to a pedestrian runners, looks like a piece of farm Last Supper, a confrontational or spoken publicly before clearly evenness. The directorial choices equipment converted into an over­ performance indeed, examines the demonstrated a theatrical effectiveness initially seemed to serve the author, but grown, misshapen rocking chair or struggles of blacks in America since the and enthusiasm, as well as a level of failed to elevate the romantic and rocking horse. Civil War, and includes an act in which enjoyment. The actors exhibited wide comic elements to proper heights. The all of the male performers are and disparate ranges of skill, but one cast, generally tired, was not The idea — the urge to create — is transformed into muzzle-wearing factor was shared: the thrill of particularly interested in listening to ambitious, however, the viewer is canines, a prayer meeting and an performance permeated the air to such each other. Like clockwork figurines, unable to get to it because the adjunct act called "Faith," in which a an extent that all nerves and mistakes they executed the play's words and sculptures never move much beyond local minister will tell the story of Job were overcome by the sheer joy of movements, but the tremendous sense their formal aspects, and where accompanied by dancers. After the these theatrical neophytes. The of enjoyment and rapture that should attempted, the message is forced. story is complete, Jones questions the audience, sensing the actors' desperate underlie it was sadly missing. Only the Because of the inherent drabness of the minister on issues of religious faith and and yet electric exhilaration, was drawn minor comic mechanicals (particularly materials and their repetitive contemporary black life. in and involved by the evening's Michael Stebbins as Flute) exhibited a manipulation (a single thought is immediate enthusiasm. sense of playful enjoyment that behind the entire body of work), the All reports indicate that Last Supper, consistently buoyed the lackluster focus is necessarily directed to while remarkable and moving, is not It was a wonderful evening, but can atmosphere. Although Morrison Goldblatt's working process, how the easy stuff, so be forewarned. The such unabashed eagerness and shared succeeded in serving up sculptures are put together. In effect, performance is a presentation of enjoyment be duplicated on the Shakespearean champagne, the vintage this prevents her ideas from ever being UWM's Great Artist Series. Tickets and professional horizon? Or is that proved ordinary and unchallenging. more than secondary: the ways in information are available by calling the reserved for "amateurs?" In the past six which the pieces of wood meet and are Fine Arts Box Office at 414/229-4308. weeks, over a dozen plays have More successful than any of these was joined draws a great deal of attention, opened in Milwaukee, testifying, Theatre X's The Desire of the Moth for but upon inspection, the joints hopefully, to an enthusiastic and the Star. A fascinating treatment, it is wrapped with copper wire and the critically active theatrical community. the true story of Margery Kempe, a 15th tightly controlled bending of the wood century housewife who so loves Christ remind one too much of the tedium of The Skylight Opera Theatre's that she devotes her life to completely such a process. On most of the works, MARY NOHL production of the musical Girl Crazy, attaining him. Director Wesley Savick where Goldblatt does let loose with bits A Legend In Her Own Time while not awash with energy, had its and the cast infused the work with a of hanging fabric or quirkily placed January 27-February 28 moments. The lush Gershwin score rich and entertaining theatricality that copper fixtures, it comes across as Cardinal Stritch College flooded the show with melody and was never undersold the basic story. The token detail and not integral to the nearly enough to carry off the evening, production's delightful sense of humor essence of the particular piece. but the script was dated. While the consistently balanced the narrative's very competent cast proved to be hard darker elements. The play was However, while the large sculptures are working, with the exception of David enveloped by an effervescence that somewhat unsatisfying, the show also owed as much to the vivacious and Heuvelman and John P. Armstrong, no includes several bronze works whose rounded performance of Deborah one seemed to be having all that much forms reflect the linear shapes in the Clifton as Margery as it did to the fun. The show's length and the lack of wood pieces. Thanks to their reduced invigorating script and uncom­ chemistry flattened this musical souffle. size and "inappropriate" (to the promising production style. message) medium, these sculptures Miss Margarida's Way, presented by make no pretenses — they don't force Friends Mime Theatre at Lincoln Center Theatre X easily answered the question an interpretation, and are more for the Arts, featured actor Rick Ney as posed earlier. Yes, unabashed successful because of this. I could say the female protagonist in Roberto eagerness and shared enjoyment from they reminded me of animal rib cages Mary Nohl's Yard. Photo by Mary Bilodeau. Athayde's comic study of an eighth both actors and audience can be or broken pieces of curving ship hulls, grade school teacher doling out lessons attained on the professional horizon. but the bare formal structures elude in biology, sexuality and fascism. Miss And that is a rewarding discovery. any specific reference and the forms If you can't throw things away, this Margarida (a lion's den role for any Mark Bucher created by the arcing and webbed show, curated by Milwaukee artist performer) commands the attention stick-like parts become their essential Barbara Manger, is for you! Mary Nohl and respect of the audience, which focus and beauty. By shifting to is not your average woman: though becomes her willing or unwilling bronze, the medium and process are no now (nearly) eighty years young, this pupils. This device introduces themes HILARY GOLDBLATT longer distracting, allowing the shapes retired art teacher continues, with a of obedience, totalitarianism, to become an invitation to the Renaissance heart, to fill her lakeside individualism, sex and sexuality, etc. to Metropolitan Gallery November 30-January 9 imagination. The wood sculptures, home with the spirit of creativity. the audience in a flesh and blood while more adventurous in their manner. However, although the play's message, would benefit from a similar Mary Nohl graduated from The Chicago massive language and sprawling loosening of focus on material, because Art Institute and received her Bachelor content provide many opportunities for all of these intricate structures could of Arts Education in 1939. She taught at Ney to score some acidly comic turns, it provide wonderful homes for countless Steuben Junior High and North overloads its literary circuits. The script creeping ideas lurking along the arcs of Division High School in Milwaukee. fails to complete its own ambitious bronze, behind the hanging cloth or For ten years she also had a ceramic themes and never really fulfills underneath the pieces of copper. studio at North Green Bay Road & West Margarida's character, except as a Edgar Smith Silver Spring Drive. And, really, the mouthpiece for some clever political (Edgar Smith is a Chicago sculptor.) woman is bigger than the legend. diatribe. While Ney's appearance as a Although reams have been written male in the first act and in drag in the about her fantastic statuary, wood second did little to assist the play in carvings, paintings and jewelry, Nohl overcoming its flawed structure, his has avoided the limelight and chosen tremendous technical range and to remain introspective and generally inherent charm supplied an enthusiasm BILL T. JONES/ unavailable to all but her closest that served to unify much of the show, ARNIE ZANE & CO. friends. Her 3 1/2 acres on North Beach Last Supper at Uncle Tom's Cabin Drive (acquired by her family in 1927) is UW-Milwaukee's Professional Theater Wednesday, February 13, 8 p.m. her artistic haven. Whether or not you Hilary Goldblatt, Altar IV. Training Program staged Shakespeare's $18 and $22 syncopate with an artist who works A Midsummer Night's Dream and Pabst Theater from a mass of accumulated Ibsen's An Enemy of the People with Simplicity of form and a striving for possessions, the accumulated years of varying levels of success. Director primitiveness make interesting points experience and quiet determination "The dances," according to the New Jared Sakren staged a wildly conceptual of departure in Hilary Goldblatt's new give her a distinct edge over York Times, "are elegant and Enemy in a flamboyant and heightened sculptures. Unfortunately one is left mainstream artists who march to effervescent; powerful and emotionally style that served neither play, actors wondering just where these paths lead. fashion's droning and oft-heard exhausting." Straight from its premier nor audience. Of the cast, only Delina That, of course, could be the artist's drumbeat. This legend may also be an last month at the Next Wave Festival — Christie as Mrs. Stockmann displayed a intent, but the sculptures deserve to original! where the acclairn was overwhelming quiet and steady strength that allowed have more to say for themselves than — Bill T. Jones and Arnie Zane bring her to remain rooted in the play while Goldblatt's working process allows. their evening-length work Last Supper Manger, who lives near Ms. Nohl, has never calling unnecessary attention to at Uncle Tom's Cabin to Milwaukee in persuaded this special septuagenarian itself. The jumble of costume and set Goldblatt makes large sculptures of what could prove to be the dance event that Stritch is the ideal place to show designs, hyperactive and chaotic acting long, bent pieces of wood. The slats of the year. Don't miss this one! her works, most of which have and gaudy and self-serving direction are joined, often wound with copper wire or bound with cloth, to form adorned her home for many years. resulted in a hodgepodge that Manger promises a unique showcase ultimately collapsed under its own structures that recall the most basic Based loosely on Harriet Beecher constructions, like the wooden Stowe's Uncle Tom's Cabin, the work is for Nohl's select pieces of silver ostentatious weight. For all the rabid jewelry, carvings, paintings, and framework of huts or primitive altars a collaboration between company energy mainlined into the production, sculptures. Additionally, a catalog, (made of bones!). They refer to artistic director Jones, Julius Hemphill, it rapidly deteriorated into a dull and produced with the support of The architecture, furniture and the simplest founding member of the World II P re v i ewj

Wisconsin Arts Board, the State of Fashion takes unexpected forms in the HOT DATES AND MIDWINTER FOLK FESTIVAL Wisconsin and The National hands of UWM sculpture student Alisa February 8-16 Endowment for The Arts, will be Anderson who started out merely LAST CHANCES The Coffee House available, along with a photo essay of considering doing a performance piece 631 N. 19th Street, Milwaukee Ms. Nohl's famous yard by and ended up with a major production JOAN LA BARBARA AND photographer Mary Bilodeau. on her hands. Heroines will combine PRESENT MUSIC You won't find bands with names like fudith Ann Moriarty fashion and fine art as it "celebrates the Sunday, January 20, 3 p.m. Anthrax, NWA or Colon Disease, but average woman who cooks, cleans and UWM Fine Arts Recital Hall folk music is a traditional way to fight takes care of kids, not the idealized $10, $8/senior, $5/student the power. Since 1967 the Coffee woman." House, a non-profit, non-alcoholic, HEROINES The queen of New Music vocalists will non-smoking venue in the basement of The 45-minute production is divided perform with Milwaukee's Present Redeemer Lutheran Church, has January 19, 25, 26. into three segments: Bellbottoms, All in provided a stage for acoustic musicians 8 p.m. Music in her first Wisconsin appearance a Day and Workplace. Included will be in over a decade. Famed composer, to stretch their fingers, storytellers and Milwaukee Fortress Building many adaptations of the bellbottom poets to tell their tales and political 100 A. East Pleasant St., Third Floor performer and video artist Joan La theme such as "Wedding Bells," a Barbara is among the best-known speakers to vent their spleens. wedding dress re-sewn into figures in avant-garde music, having Primarily oriented toward local bellbottoms; coiled woven bras; worked with such other luminaries as performers, the Coffee House also housedresses made from kitchen John Cage, Philip Glass and Steve brings in national and regional artists, curtains; a fringed leather cowboy vest Reich, among countless others, since particularly for occasions like the 5th with matching leather g-string; and the early 1970s. A pioneer of Annual Midwinter Folk Festival. waitress uniforms with tutu skirts. experimental music and explorer of the Anderson collaborated with fellow art voice's boundaries, La Barbara has The MWFF runs two weekends in student Ricky Becker on all of the performed with many of the country's February. The bill includes a "Talent designs. Valdemar Sanchez-Lombardo, major orchestras, released seven Extravaganza" at 8:30 p.m. on the 8th, a dancer with the Miwaukee Ballet, is albums and gathered numerous featuring Milwaukee musicians, poets, doing the choreography to a montage prestigious awards and grants. singers and rappers. The festival of girl group pop songs. Winfield continues the next evening with Humes-Holmes Modeling/Talent The concert with Present Music, a veteran (he's over 70) bluesman agency is providing all of the models program of the National Performance Howard Armstrong, an NEA fellowship except one who is a dancer at Hoops, Network, will feature works by Erik winner for the blues, playing, among the renowned topless nightclub. Satie, Mel Powell, four pieces by John other things, a blues mandolin. On Kristine Kjosa is the seamstress. Cage and three written by La Barbara. Friday the 15th, Reginald Finlayson, a Tickets are available by calling Present local storyteller, presents "Homeward Tickets are $6 at the door or only $4 in Music at 271-0711 or Milwaukee TIX at Journey," a series of African-American advance by calling 278-1349. 271-3335. tales. The festival concludes with a So blow the horns and ring the bells, celebration of ethnic diversity featuring A Heroine. because Heroines sounds like a fun and recording artist Shinobu Sato, poet Photo by Robert Levy. La Barbara's concert is part of a five- inspirational cure for the post-holiday day residency with Present Music Oscar Mireles, folk musicians Cathy doldrums. which also includes a live, interactive Barton and Dave Para and the Voices of Debra Brehmer video show featuring La Barbara and Praise Gospel Choir. Prices for all the artist group Media Jar. The program events vary. Call the Coffee House Info will air on Warner Cable channels 14 Line at 273-0922 for further and 47 at 6 p.m. on Friday, January 18. information. r Celebrate three fun holidays at Outpost Natural Foods.

Come to Outpost and celebrate the holi­ greeting cards with affectionate or humor­ days by sampling the foods of the sea­ ous messages from Outpost. sons. Then you can celebrate the wearing of the On Saturday, Feb. 9, from 11 a.m. to 3 green on St. Patrick's Day, which falls on p.m, Outpost will hold a Mardi Gras Fes­ Sunday, Mar. 17 this year. St. Patrick's tival. Mardi Gras, which means "Fat Day at Outpost suggests an Irish theme. Tuesday," falls on the last Tuesday before Lent. The day is primarily celebrated in New Orleans, Mobile and other cities in Mississippi and Florida with feasting and Outpost merrymaking. Outpost's sampling and Natural Foods tasting fair will take on a New Orleans theme. Since 1970 • Consumer Owned

St. Valentine's Day falls on Thursday, 100 E.Capitol Dr. 961-2597 Feb. 14 this year. Remember your loved Mon-Sat 8 am-9 pm, Sun 10 am-5 pm one with gifts of books, flowers, sweets or The largest natural food store in the region.

V \1 Art Mu/cLe JecoNdcUY /Moke

JUSTIFY MY HAUNTINGLY EROTIC LOVE By Julia Romanski designers concocted some Hauntingly WATER Erotic garments for the 1991 collections, which they unveiled with 1990 has hit the incinerator. It was a verve and . . . Haunting Eroticism at the snarling depressive year on one too Paris shows. My seepage theory was STREET many levels. For once I'm glad to take strengthened when singers Mariah notice of the coming of the new year, Carey and George Michael were even if it means we have rounded the described by reviewers as having ANTIQUE back-stretch and now hurdle, cackling Hauntingly Erotic voices. Certain and spitting, down the home-stretch to perfumes began to depend upon the MARKET — Armageddon. Unless Armageddon Hauntingly Erotic factor to further sales. awareness is just the traditional way to And I won't even mention Victoria's close each millennium, we're in Secret. trouble, because according to Revelation and fifty or so triumphantly certain nuts, those darned signs are I hastened to the Oxford English everywhere. In the Persian Gulf, a Dictionary. It dates "hauntingly" to despot seizes a tiny oil country. World 1440 and suggests it to mean War III rehearsals commence. Global "frequently," though it adds that the warming affects the entire world, word in this usage is obsolete. though apparently it skips Wisconsin. Secondarily the O.E.D. defines it as "So Ominous shrugs of nature happen, it as to haunt the thoughts or memory." seems, every other day. In San "Erotic," its first appearance in the Francisco the ants move indoors, English language in 1651, means, of fleeing from the unnatural cold, course, "Of or pertaining to the causing hysteria among the population passion of love." Isn't that a darling of that unfortunate city which seems to way to put it? But wait, there's more! have been selected to be the site of That 1651 usage of the word appeared test-marketing for this Armageddon in the preface of a book written by an number. author named Charleton and is quoted as "That Erotic passion is allowed by all learned men to be a species of And yet, and yet. I may be too cynical, Melancholy." Hmm. Hmm. because it happens that I myself have stumbled upon something darkly Translated to the vulgar, this lurking which seems to whisper out Hauntingly Erotic thing means Sex on another harkening of the End. This The Brain which translated similarly thing multiplies itself, but quietly, means Fornication Whenever Possible quietly. It spreads and in fact seeps which as we all remember brings us o and even turns up. Have you ever had full circle to . . . Armageddon. I do see one of those weird days when it seems an equation here. But what sinister that one car besides your own puppeteer is he who tweaks our mysteriously manages to appear within libidinal strings? It seems the signs of the vicinity of each stop you make, an his dastardly machinations are irritating vehicle even, like a blue and everywhere. Surely he brought us the silver van monstrosity? Then you know Hauntingly Erotic GHOST, the trite, ,. . ..,. the feeling: vague threat mixed with a Milwaukee's Patrick Swayze/Demi "Little Wooden sense of your paranoia. Of course you best Dolly" Moore cash cow. Millions flock aren't being tailed, and yet . . . you obediently. Oily-fingered and precisej selection wonder a little until you forget. the dark puppeteer plies his nasty craft, of though he does fail every now and It's not a vehicle from hell which dogs then. Apparently he visited the set of antiques me (there was one once, the Ghost HAVANA, but his brimstone and treacle Charger of the Plains, but that's another including recipe must have missed, since the story) but an actual man-made genre. most that reviewers can say about the a That's right, a genre! Namely, the film is that Hauntingly (Robert Redford) Hauntingly Erotic. I tell you, it's the large never clicked with the Erotic (Lena pods all over again. After a few too selection Olin). Even so, with television sewn many providential sightings I must up with the Hauntingly Erotic TWIN conclude that this Hauntingly Erotic is a of PEAKS (James and Donna soon to be super-luxo path to The End of the fine immolated in the ooze of it all, Josie World As We Know It, a lemming path Packard the very embodiment of it) our furniture in fact, cut deep and ever-widening to Doomsday Fiend can afford a dozen the edge of the fiery precipice. and HAVANA'S, can't he? But how far will Frankly, this Hauntingly Erotic business he go? Will we do that New Year's Eve showcased reeks of damnation. Poor hapless thing in 1999 drinking fine wines vogues who find themselves attracted smalls praised for their Hauntingly Erotic to the genre, whether responding to piquantness, drive cars named after it the key words Hauntingly Erotic or (Ford ProbeT) and end romantic such lesser buzzes as Supernaturally relationships ("She was erotic, but Sexy or Chillingly Sensual may, I fear, unhauntingly so, I'm afraid.") for the find that they are the surprised lack of it? recipients of free passes to the Armageddon Preliminaries. Who can And what about Madonna? Is she or is know what awaits them there? Maybe she not an agent of Satan? MTV they will be trained to be ushers. obviously thinks so. That JUSTIFY MY LOVE video was just too much, But really, what is it with this apparently. Why, really? It's an Hauntingly Erotic thing, anyway? The excellent video, original, simple, phrase represents the finest of straight-forward and . . . hauntingly American What-Can-This-Meanism, to erotic. From the moment Her be sure, but there's got to be more to it Sleekness stumbles frazzled and than that. During a quick perusal of dispirited into the corridor of an the film boxes displayed at Video elegant Paris hotel to the final freeze Visions I spotted more than three frame of Herself renewed, JUSTIFY MY dozen Hauntingly Erotics. From ten LOVE is an expression of basic pure IfSif t thousand titles, thirty Hauntingly sexuality. Whole nail-biting frigid Erotics may not seem too dire, but we spasms of academic voyeurism which 318 NORTH WATER STREET all know that some invasions happen manage to pass themselves off as MILWAUKEE, WI 53202 with greater stealth than others. schools of thought are blown to bits 414-278-7008 Steeling myself, I gazed over my library within the five minutes required to of books. Within several disturbing watch this video. It's the real thing. It's Free Parking South of Building minutes I located ten Hauntingly Hours: Daily 11-5 p.m., Sat. 11-5 p.m. hauntingly erotic versus Hauntingly Sun. 12-5 p.m. Closed Tuesday Erotics. Suddenly it was everywhere. I Erotic. Accept no substitutes. >*n. couldn't help but notice. Fashion

13 'Who S tflCTC?... -opening (me ofShakespeare's 9famCet Who is there? After the curtain comes down and the audience goes home, who {or whai) remains in the dark and hollow stages of Milwaukee theatres?

r^^^^^^^M^^ ^

WJS><$$gX By Mark Bucher

'SVHQ'LLS and ministers of grace odd noise, but attributed them to the age of the Logical explanations do not explain the following Shakespeare, the stage manager then exited— (Theater writer Mark Bucher explores the para­ After speaking to Colin Cabot, former Artistic Di­ tale recounted by a former Riverside employee. stage left normal side of the dramatic arts in the following rector of the Skylight Opera Theatre, it became building. Although everyone at the Skylight agreed defend us! 'Be thou a spirit of health of that Richardson's presence is a monumental force, investigation.) dear that while sightings have not been reported, While showing a new employee the second flooro f goblin damn'd, (Bring with thee airs from there is physical evidence of the next world present the prevailing opinion was that the presence was "'WH'I&Cshallwe three meet again,? In limited to memories and past accomplishments the Riverside one afternoon, they were approach­ heaven or blasts from hell, Thou comest in in the theatre. The ashes of Skylight founder, Clair ing one of the short hallways leading to the box lightning, thunder, or in ram?../By the and not to Richardson touring the theatre late at n his plays, Shakespeare often wrote of ghosts Richardson, are stored beneath the stage! Accord­ stalls. Suddenly, from the mezzanine section, they such a questionaBle shape night. pricing of my thumbs, something wicked (Hamlet), demons (Macbeth') and supernatu­ ing to Cabot, the ashes are kept there to honor heard "a burst of sound" and they turned to see "a That 1willspeakjto thee~.' ral phenomenon (Julius Caesar). His actors Richardson's statement made during a friendly al­ large crowd cheering and clapping." This paranor­ this way comes...Open locks! An actual sighting is rumored to have occurred in a •^Hamlet, to the ghost of his father. J and their audiences readily accepted the no­ tercation that nothing would go on the Skylight mal performance lasted briefly, "a few seconds." 'Whoever kjtockj!...' downtown theatre space, A local actor (who re­ tion of the afterlife making cameo appearances in stage unless "it's over my dead body." This tradi­ Both employees heard and saw a crowd dressed in quested anonymity) recounted an experience while -the three xoitches from Macbeth both the realm of the dramatic and the living. tion has been strongly maintained since modern clothes appear and then disappear. It is not Some ghost-free spaces do exist According to searching the theatre's basement to repair an errant Modern sensibilities, however, usually curtail the­ known whether any report was made of the ecto- sources contacted, Alverno's Pittman Theatre, atrical ghost depictions to Noel Coward's Blithe fuse box. Traveling through the darkened lower plasmic curtain call. Don't call Ticketron. While an entire article could be written about the Cardinal Stritch's theatre, the former Acacia Spirit or touring bus and truck resurrections of level with a flashlight, he was turning a corner superstitions surrounding Macbeth, RobGoodman, theatre on Oakland Avenue, the Pabst, the when the light of the beacon caught sight of an artistic director of First Stage Milwaukee, gave Milwaukee Rep's PowerHouse Theatre and the Phantom of the Opera. Both are horrific, but do not ,(WHO comes hen?... necessarily relate to the paranormal. older man dressed in a gray suit going slowly up the some personal memories of the unlucky coinci­ Performing Arts Center are seemingly spiritless. basement stairs. Momentarily startled, the actor It comes upon me. Art thou any thing? dences entangling his production of Shakespeare's raised the flashlight in surprise, only to immedi­ supposedly jinxed play a fewyears ago in the Todd Locally, according to Sol German of Towne Realty, Art thou some god, some angel or some Mark Simpson of American Inside Theatre states the old Alhambra Theatre (formerly at 3rd and Wis­ ately lower the beam and discover the man in gray Wehr theatre. Besides a light bulb shattering over that Ten Chimneys (the former home of Alfred Lunt consin) had a reputation for booking both live acts was gone. No other cast or crew member was in the devil, that mafest my blood cold?...' an actress' head, he told of the night when a small and Lynn Fontanne which Inside hopes to trans­ basement at this time and the building had been smoke pot located in the witches' cauldron burst and the not so live. But the Alhambra was torn -(Brutus, seeing Ceasar's ghost, Julius Ceasar. form into a museum/theatre space) holds only down years ago. Surely none of the theatres in locked. into flames, resulting in a tail of fire erupting from pleasant memories of the famous theatrical duo. Cream City now house anything more than mere The UW-Milwaukee Fine Arts theatre is a modern, the stage floor. Although no one was injured, the However, wife Morrigan Hurt vividly remembers fire took a devil of a timet o control, as the first few theatrical memories. In the inky blackness of the It certainly is possible that the gentleman in gray spacious facility embellished with a fully opera­ one of their first nights alone to the mansion's bed­ fire extinguishers tried all failed to work. It was darkened stages, are scenes of a spectral nature was a vagrant illegally present in the building. As an tional light board, flexible thrust stage and com­ room. Hurt and Simpson were viewing the horror finally controlled, although no bum marks were being revived after the (so-called) flesh and blood alternative, this in itself is still no small comfort. But pletely up-to-date ghost. This ghost has something film Re-Animator when they were interrupted by if ftwa s a vagrant, the intruder would have had to left on the cloth and wood set Goodman felt actors depart? Are the "watchful" eyes of human previously mentioned spirits lack: a name, Rodney. a large and persistent black bat flying UNDER their pass other members of the company in a presuma­ strongly enough about the play's struggle between stage technicians being replaced by supernatural Rodney is rumored to be a former construction bedroom door. According to Hurt, the spell of the bly hasty fashion. The actor went about his busi­ good and evil to transpose the actual black magic film (and perhaps the evening) had been broken. stagehands who neither desire coffee breaks nor worker who died while the theatre was under ness and said nothing to fellow performers. Other invocations present in the script to Latin prayers. bemoan contractual violations? construction. According to Mark Sahba, a former sightings have not been reported, yet. stage management student at UWM, Rodney is a And according to one technical director of an es­ '.. JLWJMOE hen strikg-l Tis time; tablished theatre company, they ". . . have no 'M?M19&! And quit my sight! friendly ghost Sahba, now a stage manager at the '5UJAS, how is t with you, Milwaukee Rep, told of an evening long ago that descends/Bequeath to death your ghosts. And if we did, he'd be gay and he certainly Let the earth hide theel Thy bones would have made himself known by now." that you do Bend your eye eventually resulted in the practice of keeping a are marrowless, thy Shod is cold..' single bulb lit onstage at night to pacify Rodney. numbness... you perceive she stirs...' on vacancy and with the Sahba referred to this as "the ghost light" Some -Taulina, The Winter's Tale John Kishline of Theatre X states no knowledge of 'Macbeth incorporal air hold discourse?... years ago, a stage crew was removing or "striking" any ghost, although he says a murder did occur on the set after a show had closed. Due to blizzard the upper floors of the MKE space. Whether the Actual sightings proved to be rare. Almost every ...whereon do you look?' conditions, they were forced to spend the night in At the Otteson Theatre, the students claim that the said crime was critically successful cannot be ascer­ actor, stagehand and staff person knew of stories, -Qertrude, Hiamlet's mother, sf taking to the theatre. The crew continued working intermit­ spirit of founder Elizabeth Otteson stops by to tained. straighten her portrait and generally have fun with but few would admit to anything "in their theatre." Ufamlet who is speaking to his father's ghost. tently when suddenly all the stage lights went on si­ The few individuals who testified to the more multaneously. No one was in the light booth with the lights—although nothing beyond erratic lights Although the information presented herein specifi­ bizarre happenings almost always requested ano­ and a few errant noises were reported. cally states some theatres as "haunted" and others The Riverside Theatre is an old vaudeville house the controls and no misguided current or short was nymity. One wonders if they hesitated to be quoted as not, one horrific phantom has made itself known that has been saved from the grave of the wrecking ever located. due to the wrath of any headless hauntings or to all theatres across town. The following anecdote ball and restored to its former beauty. According to < because of the superstition of steady employment. LeRoy Stoner, stage designer, told of former stu­ 'FT will have blood: Ihey say Blood wuT (courtesy of Peter Hay's Theatrical Anecdotes) tes­ Riverside employees Drew Noll and Jerome Coo­ tifies to the staying power of this age-old demon. per, a ghost certainly exists there. Noll speaks of a dents recounting tales from previous administra­ have Blood: Stones have Been kjtown to At Marquette's Helfaer Theatre, Dr. Bill Grange, small room known as the "Exorcist Chamber" lo­ tions (Rodney pulling a precariously balanced move and trees to speak,...' "In the old days of touring stock companies, actors chairman of the theatre department, does believe cated behind the stage. Opening the door to that worker to safety on the catwalk) and that present referred to salary day with the phrase "when the that certainly the "plans and dreams" of all the icy chamber purportedly allows the ghost to es­ workers still encounter stage lights that refuse to -Macbeth Ghost walks.' The phrase was said to originate participants (onstage and to the audience) "go cape, "misplace cups and supplies" and generally work for unexplainable reasons. The "catwalk" somewhere." Though he was unable to testify to from the days of Edwin Booth confuse the clarity established by the workers. (the iron grid walkway above the audience that At the old Clavis space on Summit, theatre worker any hauntings at Marquette, he did proffer the Cooper feels the ghost is a friendly woman. He said encircles the stage) is where Rodney is said to have Paul Gegenhuber reports that props would disap­ opinion that the absence of spirits may be due to A company of players producing a Shakespearean that in deserted and closed hallways on the third fallen and died. Mysterious blue lights have been pear and tells of cutting wood late one evening and having Catholic mass celebrated on the Helfaer repertoire were in desperate straits when they Richardson's death in 1981 — so strongly that the floor he experienced "cold breezes," as though seen moving in the catwalk. One tale handed down discovering that a small portion of the lumber had stage. However, he did discuss the many supersti­ announced a performance of Hamlet to a small ashes (stored in a pewter box) often make an someone were running past him. Noises and foot­ from crew to crew tells of a stage manager working somehow moved from its former stack to a barren tions attached to Shakespeare's Macbeth. For ex­ town. Salaries had been unpaid for weeks, and appearance onstage as a prop or travel with the steps are heard from backstage in the empty theatre late one night when he saw a blue light in the light and empty platform some feet away. Former ample, to redeem oneself after speaking the play's there was dissatisfaction to the company. All went company when touring! Do Richardson's union when he is cleaning after performances. booth. The booth, facing the stage and located in company members speak of cloying coldness and title in a theatre (which is forbidden in some the­ well with the performance until Hamlet's line about fees continue under this arrangement' While Cabot the center of the catwalk, had been secured and missing personal items that turn up days later— atres due to the belief that the play is cursed) one his father's ghost: 'Perchance 'twill walk again.' mentioned feeling a "presence while painting," In a large and old building, settling beams and locked by this same stage manager. The worker untouched. should spit over the left shoulder. This spits in the and hearing doors open and close late at night, he called to whomever was in the booth, only to hear Here the ghost broke into the scene from off-stage face of the devil who invariably approaches from curious vermin may account for noises. And a large with the loudly-voiced answer; 'Nay 'twill walk no attributes this to Richardson maintaining a firm grip staff alone may explain missing supplies. But other the locked door open and close and see the blue the left. Dr. Grange himself declined to pronounce on the company. Other Skylight personnel remem­ light travel slowly toward him as heavy footsteps more until its salary is paid." nm- the play's Scottish title. employees verify reports of echoing footsteps, bered troublesome stage lights and the occasional unseen "presences" and unaccountable noises. clanked along the iron grid. In the best manner of

\5 14 Art Mu/cLe Gel your tickets to All these events in ONE place...

Opening Acacia Theatre soon.... Milwaukee Repertory Theatre Attractions Next Act Theatre Seasonal Events Theatre X All Ticketron Events Pabst Mansion Milwaukee Ballet

Artists Series at the Pabst Bel Canto Chorus Concord Chamber Orchestra Sporting Events Early Music Now Florentine Opera Company Milwaukee Symphony Orchestra Rock Concerts Present Music All Ticketron Events Music Under The Stars

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B N L 1 9

ARTISTS - BIENNIAL A Juried Statewide Fin^ Arts Exhibition^ B Open to all Wisconsin Artists B DistinguishedTJurors I A Holly Solomon B ^Director: Holly Salomon Gallery, New Yorkx- L r p JoeJJPeter Wj^kin B L Artist: Photographer B g AJice AycQcJc I. Artist: Sculptor JODI CASTAGNOZZI B E N N A I, /vVXRQUETTE UNIVERSITY Opening January 18, Gallery Night B E N N A L

B A L New oil paintings and pastel drawings, through February. B A L

B A t.

B g PATRICK friDEATPCEh^GGEIXJ Y A I, " AAU5EUM OF ART B E MIL\MjKEE, WISCONSIN A L DeLind Fine Art B E H N A L 801 N. Jefferson St. Milwaukee, WI 53202

%1991 L On Cathedral Square, in the Heart of Milwaukee's East Town. (414) 276-2650 B N A L Member of International Society of Appraisers and Milwaukee Art Dealers Association.

THE WOOD SHOW

February 16 to March 20 A juried exhibition Metropolitan Gallery of artists working 900 S. 5th Street in any wood media. Organized by Debra Brehmer Sculpture, woodcuts, Editor, Art Muscle Magazine installation, carving.

Artists include: David Kamm, Jill Sanders, Clifford Bell, Marvin Hill, Michael Wodyn, Alan Jung, Albert Benedict, Eric Hagstrom, John Ford, Lynn Slattery Helmuth, Andy Rubin, Gail Panske, Maggie Beal, Carri Skoczek, Mark Lawson, Lois Coren, Jean Roberts and others.

Opening Reception • 7 to 10 p.m. • Saturday, February 16

\6 Art MU/cLe Notes on how to buy a painting.

ne late atternoon in early October, my number streaked through my brain, a pathetic last- living room? I knew I would be able to look at it for friend H.G. and I were driving on ditch attempt to compensate for my embarrassment at hours; it would invite that. In the end I decided on the I Wells Street eastbound past the Mil- having fallen forthe painting so quickly. I elected to pull living room, on a white wall, between two tall dark- 1 waukee Repertory Theater. He was the "I'll think about it and get back to you" stalling tactic. stained doors. Ironically, below it would sit a couch, * driving. I was smoking a cigarette and I might decide, I lied to myself, that I really didn't want making The Pose the only "sofa painting" I've ever gazing out the window when sud­ it. bought in my life. Ouch. denly a painting appeared in my field of vision. For the next couple of days, The Pose became a veil Weeks before I brought the painting home I could feel "Stop the car, stop the car," I yelled, "back up!" H.G. through which I saw everything else. I dreamed about myself making room for it in my life. I think you have to pointed out that Wells is a one-way street. I leapt out. it, I doodled it. I balanced my checkbook, after a fash­ do that, if you buy art as something more than deco­ "Drive around the block and meet me here," I said. ion, which is all I can manage. I had some money, but ration. This painting had the ability to draw me in so Inside Artisan Trade Galleries two men were discuss­ not enough. I called Burns and told him if he would put deeply that it was effectively like having another room. ing something in a loft office high above me. The it on hold for me, I would give him $500 the next day. I knew it could withstand my scrutiny, that I would never painting hung on the east wall. A spotlight was trained By this time the Mandate from Fate thing had taken tire of it, that it would lead me along paths of thought not on it. I stepped closer, at first feel­ yet taken. ing a bit awed by its size. I'm still not sure why. I've seen larger My brother, whom I brazenly solic­ paintings, but none have had such ited for 200 clams, asked "What the an impact. The painting measures hell do you want to spend $1,600 on 4.5 feet by 3.5 feet. I stared at it. a painting for? Of a kangaroo?" I I couldn't immediately identify the graciously declined to point out that animal. From the street I'd taken it he must have intended people to to be a wildcat. ANGAROO spend far more than that on one of his own paintings when he went for I stared at the painting, completely that B. A. in Fine Arts. Characteristic struck by it. Called The Pose, it of my brother, though, he forked was painted by Mukwonago artist over. My friend Mary Louise in New Karen Halt. Within seconds I un­ York City forked over and a whimsi­ derstood that I had to have it. It cal buddy gave me $50 hidden in a was drawing me in by degrees. Christmas ornament. H.G. joined me and determined, correctly, that the creature posed Meanwhile, as my Julia-thon pro­ so elegantly before us was a kan­ •ill gressed and Christmas drew near, garoo. He knows me. I could see 111 Burns gave me Karen Halt's phone iff! that he was considering the paint­ lit!! number. I spoke to heron the phone ing to be mine, but on a more and managed to say nothing more practical level, i.e., the price, which coherent than that I was in love with prompted me to do the same. the painting. I was nervous because I was acquiring a precious creation, 1 guessed the painting would cost lB|iBBlp? becoming its caretaker. I wanted about $3,000. Fortunately for me, her to like me. since I had just begun a period of Illlililir:r>Mm man ' g- ^mm0FWKmm^mM*^mm.^.f^^M^^SSB& gainful unemployment, I was HHMH Christmas Eve rolled around. I wrong. The price was $1,800.1 felt worried. I'd received some money, lucky, but I didn't have the money. but not enough to bring the painting I felt lucky, but I had a problem. I home for Christmas. Karen sent a knew the painting was mine, se­ mmmmmm photo of the painting, which helped cretly (it was just passing time in ease my impatience. So there it the gallery) but someone else who By Julia Romanski was, Christmas Eve, and I fretted. could toss out 1,800 clams might Christmas day whipped by. I sat walk away with it. with a friend and wrapped dozens of presents. That helped me avoid Where the hell was I going to get the funk I wanted to throw myself the money, money I could use to pay bills? I'd sort of hold. Expedite, I raved to myself, expedite! into. I could have been given a Maserati sedan for developed this denial program over the previous Christmas, and I would have thrown a tantrum. months, part of a planned approach to the Time-To- I went to the gallery the next day. There was a little Get-Mature thing. My twelve-step program consisted orange "hold" sticker affixed to the card below the I was determined not to sulk that night, when H.G. and of repeating "I don't need anything more, really," as painting. I gave Burns $600. I don't really know why, I exchanged presents. The torture of Christmas is the often as necessary. I had managed, with such disci­ but he shaved $200 off the price. He wrote a receipt only kind I like. I love to torment people with endless pline, to pass over an odd CD or two, bought maybe and replaced the orange sticker with a red one that smug hints about the presents I have for them. I'm five less Laser Discs than I might have, and stretched said, "Sold." Yes! I was closer. A few days later I was better at doing that though than being the recipient. my bottle of perfume to last four months instead of back with another 180 clams, but I was tapped out. I H.G. is poker faced all the way. Therefore I was broad- three. Caught in contradiction (I must have that paint­ plotted. I devised. I almost schemed. I thought craftily. sided when he told me we would be bringing The Pose ing/It's a sign of Maturity not to spend money you don't An idea came. I would ask each of my close friends to home the next day. I did the crying thing. I was ecstatic have) I had a sticky wicket on my hands. My strategy contribute money to my ardent cause. This could work, and I felt grateful. The painting was mine. is to never pit opposing themes against one another I reasoned, because I have one of those oddly placed (the old 'I've been so good I deserve a reward' num­ birthdays, falling one week before Christmas. I began I'm looking at The Pose as I write this, recalling how ber), but to go immediately for the big guns. This to issue my requests, waiting innocent-faced for my bitterly cold it was the day after Christmas and how I means simply recognizing that I have a special sight chums to ask what I wanted for my birthday and Christ­ worried that the painting would somehow be damaged enabling me to see that Fate placed this painting be­ mas. in transit. I've played with the lighting in this room for fore me and so it is obviously mandatory in the eyes of hours, amazed at how the painting changes each time. a Higher Order that the painting belong to me. It works "But Julia, it's a kangaroo!," some of my friends replied, Sometimes it emits its own light. I can't say whether every time. But that was just the easy part. I had some as though I were supposed to snap to my senses and there is "academic" merit to The Pose, I only know that scraping and self-delusional financing ahead. shout "Oh my God, you're right! It's a kangaroo! What it will never become an inert object in my presence and was I thinking?" But look at this kangaroo. Is he out of the hundreds of paintings I've seen in my life, too John Burns, the director of Artisan Trade Galleries, not...more human than human? I think so. Look at that few have held that power for me. I don't know why this joined us in front of the painting. I was comatose by pose. He's an animal who, though I'm certain has painting moves me so much more than others, but I then, but not so far gone that I didn't notice his imme­ never worn clothes, looks naked and sensuous. He's trust that it does. I see myself in it. I see the craft of the diate response to my enthusiasm. He told us a little very relaxed, introspective, but not unaware of his sur­ loving hand which created it and I see an extraordinary about Karen Halt, who for many years had done wildlife roundings. Look at that jaw, that flank, that rump. To sense of balance within the whole painting to which I painting. She had recently had a show at the gallery, me he's a creature before he's a kangaroo, a splendid respond instinctively. For these and many other rea­ and Burns showed us several other works she had living thing revealing himself unaffectedly. sons, some of which I do not know yet, I had to have this done. The Pose, however, exerted a powerful magnet­ painting of a kangaroo. ism and I was conscious of it behind me whenever I My friends thought I was nuts but they didn't dissuade turned my back. It wasn't easy to distract myself from me. H.G. and I, working on our apartment, began to (Julia Romanski is a regular contributor to Art Muscle). it for more than a few seconds. Burns m ust have known plan around the painting. Would I be selfish and hang I was hooked. Unwittingly, he cutthe pressure by offer­ it in our bedroom or would I share it and hang it in the ing a payment arrangement. The Time-To-Be-Mature

17 Disney Animation Cels and Whimsical Glass Jan. 25-March 1 WE SELL Opening reception: 4 to 8 p.m. Jan. 25 PAPER! Our selection of 500 papers includes:

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Open 7:00 a.m. - 8:00 p.m. Mon. thru Fri. 8:00 a.m. - 8:00 p.m. Sat and Sun. Corner Astor & Brady 272-4384 COFFEE SHOP COFFEE SHOP C( More than a pharmacy, a gathering place As I approach 40 I wonder about growing older and creating art Madison's history is similar. According to artist John Wilde, "In have been in love . . .vv,.;. • , - . ' ; . • - • ; talked to seven established artists who have been working at the Madison Art Association existed, and they held exhibitions with painting ever art longer than t have been alive: Aaron Bohrod, Schomer Ucht- in the Madison Public Library. After WWW, the Madison Art As- since I became ner, Joseph Friebert, Gutdo Brink, John Wilde, John CoJt and sociation acquired the old school (a nice facility) and later Doris White. I wanted to find out if the art world had really rented Civic Center space and became today's Madison Art

conscious of it at the changed in a few generations, to know more about a history '^^ •:&;•••, .. age of 6. I drew with which I was connected. I wanted to meet some of the artists whose names I knew so well. At this point I offer an apology. "As far as commercial galleries, there were a couple of ladies some pictures I I am an artist of one generation trying to piece together the his­ who ran things out of their basements now and then," Wilde thought fairly tory of the generations that came before me. I was humbled on said. "There was little patronage in town, although a lot of meeting each of them. How can I hope to do justice to their lives people were interested and they'd invite artists to their parties. good when I was 50, but or comprehend all they are? By writing about seven artists, Jane Hasiem had the first commercial gallery in town (she's really nothing I did before each of whom deserves a book more than a brief mention, I now a print dealer in Washington DC) with a State Street gal­ the age of 70 was of any serve only as a reminder of their presence. lery. She was there for some time in the '50s. When she left in 1960. Fanny Garver took over her space." value at all. At 73 I have The first thing that became apparent in my conversations with at last caught every them is that the gallery and museum structure I take for granted Art styles were also quite different from today's. Expression­ was unavailable when they started out — in fact, the current ism, Surrealism and Dadaism, all European movements, held aspect of nature -- birds, flurry of art market activity began as recently as 1960. the international spotlight. Post WWII artists migrated to Amer­ fish, animals, insects, Milwaukee's gallery scene between the World Wars was differ­ ica, and the art world's emphasis switched to the United States. ent from today's. American art in the 20th century prior to WWII was made up of trees, grasses, all. When I diverse camps which congealed into Social Realism or Region­ am 80 I shall have Jefferson Street, between Mason and Wells , was the hub of alism—a strain of realism which depicts the worker. developed still further, activity. The Layton Gallery at Jefferson and Mason was run by Charlotte Partridge and Miriam Frink. Their basement art Aaron Bohrod recalled: 'There was a time when Regionalism and I will really master classes were the beginnings of the Layton School o? Art and the was a thing. It was reflected in the state art projects. California the secrets of art at 90. gallery above hosted local art shows. The Milwaukee Art people painted brisk, crisp watercolors of mountains, the New Institute, forerunner of the Milwaukee Art Museum, was located York people painted something else and the Illinois and Wis­ When I Teach 100 my just north of the Layton Gallery on Jefferson — a beautiful, two- consin people painted barns and so forth. There was the ability story domed building with skylights that opened into a large work will be truly sublime, to say where a painting or a painter was from when you looked exhibition space. The building was torn down in 1958 and the e::Z:: and my final goal will be. Art Museum moved into its new location in the War Memorial attained around the age Building in 1959. Bresler's Gallery, established in 1881, was lo­ According to John Colt, "Milwaukee was a conservative com­ cated at 729 N. Milwaukee Street and was often cited as the of 110, when every line single commercial galiery in Milwaukee. Clive Buckley at munity with a German (Realist) background. An artist like von and dot I draw will be Bressler/Eitel Frame Shop adds that there was also Eitel Broth­ Neumann was the big influence. He had a foothold in the aesthetics of the area and his art largely depicted workers or imbued with life. ers and Krumhoiz "on Third Street across from Schuster's." There were a number of artists' organizations: The Wisconsin fishermen which appealed very much to the working class. He Hokusai, Painters, the Craftsman Society, and the Wisconsin Print- also was an illustrator for the Milwaukee Journal so he bridged The Art Crazy Old Man. makers who produced a yearly calendar with original wood and fine arts and illustration... Another big influence in Wisconsin linoleum cuts by such artists as Schomer Lichtner and Robert in the '40s was painter John Stuart Curry. He represented those -for. ''V:S^-'5':;-:. '/'/;.3/ S?:'u '?:: t'lsiKT;. Regionalist, Americana painters that were popular contempo­ rary figures in the '30s and '40s , rather than the Abstractionists Irving Gallery opened in 1960 on Port Washington Road and and Expressionists who migrr that same weekend Dorothy Bradley opened her gallery in Thiensville. From then on, things began to happen. SEVEN ARTISTS

A BHistory John Gruenwald y Photos By Francis Ford

hree of the following artists are in aron Bohrod was born on the west side of as an artist-war correspondent for Life in Europe. their 80s. Their youthful, Depression Chicago in 1907. He studied at the Art Stu­ In 1948 Bohrod succeeded John Stuart Curry as era work touched on Social Realism. A dents League in New York City and upon Artist in Residence at the UW-Madison School of University degrees did not exist in the finishing, was advised by his teacher John Sloan Agriculture. Bohrod painted landscapes and the fine arts — artists were instead encour­ to return to Chicago to "paint the city." Working world around him, so it was felt he would aged by their teachers who studied in Europe to in Chicago during the heart of the Depression, continue in Curry's style and promote do the same. Franklin D. Roosevelt's WPA (Works Bohrod sold his drawings for two dollars each. Wisconsin's natural beauty. Things changed, Project Administration) supported many artists The Rehn Gallery in New York gave him two however. through those lean years and the period was a test solo shows and he later received a Guggenheim of any perseverance. Aaron Bohrod, Schomer fellowship which he used to travel and paint While painting a landscape on a complex, rocky Lichtner and Joseph Friebert persevered. throughout the United States. Contemporaries coast, Bohrod picked up a stone to examine it included Grant Wood, Thomas Hart Benton, Ra­ more closely. This incident inspired a change in phael Soyer and George Grosz. After holding his paintings: increasingly he focused on the the post of Artist in Residence at Southern Illi­ beauty of single objects, and worked in a style nois University, he served as an artist for the US labeled Magic Realism and trompe l'oeil. His Army Corps of Engineers in the Pacific and later arrangement of objects and their formal relation- 2o Art Mu/cLe I llHia nil nn BouT?!,

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ISIS ships gradually shifted, becoming increasingly dents, also attended the National Academy for rhythms of country workers. Suddenly personal and charged with significance and Life Drawing — tuition was $6/ semester. Grant Wood and Curry came along and humor. you'd think they'd discovered the style. Lichtner: Pursuit of education was a They got all the adulation. At least we Bohrod: Essentially it is looking at stuff that quest for knowledge, not a prescribed got out in the country for direct inspira­ exists in life and squeezing out all the reality that course of study leading to a Master's tion. It was an experience. you can from it. Now I've started relating to the degree. Everyone is really self taught. meaning of these darn objects and so I paint Murals completed for the Sheboygan Post Office things that have meaning and do not just relate In 1930 Lichtner's studio was at Third and State and Walker Junior High School in Milwaukee to each other in color and form. streets in Milwaukee and with Peter Rotier, still exist. In 1934, President and Mrs. Roosevelt George Rabb and Carl Holty, he drew and exhib­ chose one of Lichtner's paintings from the Na­ Bohrod's work is in over 45 museum collections ited work as a member of the Milwaukee Art tional PWPA exhibition at the Corcoran Art and numerous books and catalogs have been Student's League. When Gustave Moeller died Gallery to hang in the White House. published. He recently had a show at Bradley in 1932, Lichtner took over his studio on Third University and at the Grace Chosy Gallery in and Center streets. He was given a solo show at In the early '30s, Lichtner began using the cow as Madison. Entering Bohrod's studio is like enter­ the Milwaukee Art Institute and exhibited work an art motif and this concern continues through ing one of his paintings: every shelf and surface in the 29th Carnegie Institute International Exhi­ the present. Reflecting an interest in Zen and the holds the objects and trinkets that fill his work. bition and the Chicago Art Institute American art of the Orient, Lichtner's work is characterized Framed paintings and drawings cram every Exhibition in 1932. by calligraphic brush strokes and abstract pat­ studio space and are stacked several deep against terns. most of the walls of his home as well. Schomer Lichtner and artist Ruth Grotenrath were married in 1934, beginning a partnership Lichtner: Art is a feeling of relation­ Both Bohrod and his wife Ruth exude remark­ that has had tremendous impact on Milwaukee's ships, a visual experience of relation­ able energy and humor. Bohrod had this to say art community. Lovingly committed to each ships of the subject matter. As far as in response to a question on growing older... other and their work, it is hard to speak of one painting goes, the object is to bring out alone. Grotenrath died in 1988. those things that create this aesthetic Bohrod: I don't think much about it — feeling. Basically all art is in the direc­ it isn't a great thing to dwell on. (Pause) In 1935, Lichtner and Grotenrath received word tion of being spiritual. We see the spirit Well, maybe in the morning. that they had been accepted as mural painters for in the subject matter. You have to see it the WPA Treasury Relief Art Project. They were aesthetically as a unit, as a whole, what paid $94 a month to paint murals for the govern- they call a gestalt. And that's like a reli­ gious experience.

oseph Friebert, born in Buffalo, New York in 1908, moved with his J family to Milwaukee three years later. While attending North Division High School, Friebert worked as a pharmacist's apprentice, and by 1932 he was a Registered Pharmacist for the Oriental PharmacyonMilwaukee'seast side. Even then the Oriental had a reputation as a hang out for creative people. Friebert met Milwaukee painter Sam Himmerfarb who introduced him to Alfred Sessler, Santos Zingale, Schomer Lichtner and Ruth Groten­ rath.

As Friebert became interested in art, he began attending the Milwaukee Art Institute as a member of the Business Man's Art Club and became acquainted with Robert von Neumann. Not want­ ing to give up the security of a job during the Depression, he furthered his art interests by enrolling part time at the Layton School of Art and studied with Gerrit Sinclair.

In 1936 Friebert met artist Betsy Ritz at a figure drawing session in a studio that Betsy shared with Agnes Jessen. Later married, they agreed on a plan in which Friebert had five years to be­ come a self-supporting artist, while still maintaining his part-time phar­ macy post. Friebert received his first award at the 24th Wisconsin Painters and Sculptors exhibition at the Mil­ waukee Art Institute. Continuing to show and win awards, he enrolled at Milwaukee State Teacher's College and worked toward a degree, which he earned in 1946. He then taught at Layton School of Art and State Teacher's Col­ lege, which later became UW-Milwau- kee.

Four years after receiving his Master's Schomer Lichtner Degree from UW-Madison in 1951, he was invited to exhibit in the American chomer Lichtner was born in Peoria, Illinois ment, and their major influences, besides the Pavilion at the Venice Biennale along with Ben Sin 1905 and moved with his family to Mil­ American Regionalists, were the Mexican mural- Shahn, Edward Hopper, John Marin, Stuart Davis, waukee two years later. Lichtner attended Mil­ ists Rivera and Orozco. Willem de Kooning and Jackson Pollock. His waukee Normal School and studied with realist painting was purchased by an Italian collector— painter, Gustave Moeller. He continued his stud­ Lichtner: We were all getting in this idea the only work by an American artist to be sold at ies at the Art Institute in Chicago and later at the of working in the country and we'd do the exhibition. Friebert continued winning Art Student's League in New York City. Licht­ farmers and plowed fields and barns. awards and receiving critical attention until his ner, like the majority of League stu- We wanted to show the patterns and the retirement from UW-Milwaukee in 1976. 21 Art Mu/cLe numerous museum and corporate collections.

I Self-styled, (like all of these artists), Brink has ' not succumbed to the temptation of fad. It is to his credit that for 35 years his art has been a challenge to Milwaukee's conservative art scene.

Brink: I feel the artist has to find his balance and have the courage to stay with it. If you are convinced of what you are doing it is much easier than giving in to or following some trends. Many artists feel they have to know everything — they have to attend each lecture, each presentation, each show. It's really lack of self-confidence if you fall victim to this kind of permanent endeavor.

Lichtner: There are so many more artists now than when I started — many more good ones and many more bad ones. Back then, there were just a few so you felt you knew everyone who was paint­ ing.

Most universities did not offer a degree in Fine Arts until the 1960s. After WWII, many sol­ diers returned to school on the GI Bill. As an artist, you could either receive a degree in edu­ cation or a degree in art history. Both Colt and Joseph Friebert ing. He then helped found the Milwaukee School Wilde received Master's Degrees in Art Educa­ Stepping into the Friebert home, I was instantly of the Arts (now the Milwaukee Institute of Art tion and joined the first wave of American uni­ aware of the scent of oil paint and turpentine. His and Design) and served as its first president. versity trained art educators. living room is equipped with a small etching press, and he was at work on some monotypes, A painter and a sculptor, Brink's European heri­ Wilde: The first guys who came into developing ideas for a painting. He then showed tage is evident in his gestural painting and in his teaching positions at universities were me his real studio and the works in progress. It technical yet amusing sculptures. As Artist in professionals, mostly without a degree. was a place that glowed with warmth, both of the Residence at Super Steel Products, Brink created All these programs were just burgeon­ man and his works. large indoor and outdoor pieces for (among ing in the universities. When I did my others) the Milwaukee Zoo, the East Side Li­ undergraduate work, there were only Friebert has an Old Master approach, building brary, Firehouse No. 29 and Waukesha County four faculty on the staff. There was a up layers of transparent glazes, keeping a som­ Technical College. His work is represented in degree in art education, and that was all. ber palette and letting the under- re­ painting shine through. Working very loosely and almost abstractly, Friebert uses the dialog set up within the painting to create the work. liitir Friebert I depend a great deal ••••111 on what happens to the canvas •liiilllll 111 rather than what happens "over jpiiii iff there" (looking over to the sub­ litfltp ject). The unplanned is often important... I can't paint what I ••IiiiB r can't imagine and I can't see what I can't fathom. uido Brink immigrated to the HUB G United States from Diisseldorf where he was born in 1913. Ger­ many, between wars, was in shambles economically, so his par­ ents sent the teenager to New York to work with his uncle fashioning stained glass at the A.L. Brink Stu­ dios (affiliated with the Tiffany Stu­ dios next door). After working three years for his uncle, Brink states that he not only learned the craft but also that "you have to make a living, however, commercial cliches com­ bined with craftsmanship do not make art." Returning to Germany he attended the State Academy of Fine Arts in Diisseldorf. Upon gradu­ ation he was drafted and sent to the Russian front. When the war ended, Brink worked for the next 15 years as a self-supporting fine artist painting the landscape surrounding Diissel­ dorf.

Brink and his wife Ello arrived in New York in 1952 and moved to Milwaukee the following year, where he was a faculty member at the Lay- ton School of Art until its 1974 clos­ a world much closer to ney Annual Exhibition of American Painting van Eyck or Bruegel than with Frankenthaller, Burchfield, O'Keeffe and to any current trend. Davis. His reputation has continued to grow — the list of museum, solo and group shows is too lengthy for inclusion.

ohn Colt was born in Colt is a traveler, having visited and worked in Madison in 1925. He Europe, the Middle East, Ceylon, Mexico, Can­ Jreceived an early in­ ada, Australia and the Bahamas, among others. troduction to art through Until several years ago, when political instability his father, Arthur Colt, a forced them to give it up, Colt and his wife Ruth portrait artist and opera­ maintained a studio in Haiti. tor of the Colt School of Art in Madison. Colt's Colt has an endless vocabulary of forms which he father stressed the diffi­ uses to express new compositions and statements. culty of making a living as His work is sensitive and sensual, both in the an artist and encouraged semi-erotic subject matter and in his lush han­ him to become a writer. dling of the materials. His large abstractions are Colt enlisted in the Navy primal — spattered with pollen, mating insects, after high school and and, to my eye, the essence of life. served the next four years in the submarine service. Colt: I've always had the belief, particu­ In 1946 he began studies larly in my own work, that you are at UW-Madison where his making marks of process or tracks of life. instructors stressed artists So your life goes along, has ups and such as John Stuart Curry downs and your art does too. You have and Ben Shahn. Colt your celebration days and you have days emerged in 1951 with his when nothing cooks for you. It graphi­ master's degree. He also cally marks the way everybody's life emerged as a Realist. He goes along. then held a state job as a roving instructor for dis­ abled shut-ins, and taught at a school for boys in elonging to the same generation as Wilde Perth, Australia. and Colt, Doris White chose a different routBe to success. Born in Eau Claire, Wisconsin in || In 1957 he joined the staff 1924, White graduated from the Art Institute in of Layton School of Art Chicago with majors in design and commercial John Wilde (file photo). and one year later that of art. Taking time out from her education, she UW-Milwaukee. Colt's work moved more and served in the WACs during WWII. She worked Whenlfinished my degree inl948, eleven more toward abstraction. His sensibilities were as a commercial artist in both Chicago and Mil­ job offers came in gratuitously—I never more in tune with Rothko and Pollock than with waukee for a number of years prior to beginning had to apply anywhere! We're at a point Curry and Wood. He was included in the Whit­ her career as a full time fine artist. now where the first wave is retiring—or croaking!

ohn Wilde, born in Milwaukee in 1919, was J an artist at an early age. He exhibited a water- color in the Wisconsin Painters and Sculptors show when he was only 14. As a high school student, he was taught by Ruth Lohr, Alice Gutch and Fred Logan and introduced to local artists Gustav Moeller, Gerrit Sinclair, Schomer Licht­ ner, Ruth Grotenrath and Karl Priebe. He stud­ ied with James Watrous and Roland Stebbins at UW-Madison and after graduation, served in the army. He returned to Madison, received his Master's Degree in 1948 and that same year be­ came an instructor in drawing there. Although aware of the Regionalists, Wilde's interests leaned toward Surrealism—in particular Northern Flem­ ish painting.

His first dealer was in New York in 1949. He also began showing and selling in Milwaukee.

Wilde: Selling paintings for $300 then was comparable to receiving $3,000 by today's standards.

Never at a loss for an audience, Wilde's mailer for his latest New York show at the Schmidt-Bing- ham Gallery (his 16th) lists 25 museums, includ­ ing the Whitney, the Art Institute of Chicago and the Smithsonian, that own his work. Wilde is often considered the nation's leading Magic Realist (fantasy and visionary imagery), a label also affixed to artists Robert Vickery and George Tooker.

Wilde: The '50s was a time when there was a real intellectual competition, momentarily, between the Abstract Ex- pressionists, the Realists, the Magic Realists and the Social Realists.

Wilde's craftsmanship and discipline do pro­ duce a meticulous realistic quality, but his vision is unique. Both dream-like and symbolic, the beauty and sensitivity of his observations fash­ ion jewel-like impressions of a personal world — John Colt 24 Art AAu/cLe got something different — as if different is good.

Colt: This is an age of novelty. Artists reach for a lower level to get a wider audience.

Aesthetics have also changed.

Colt: Along with the in­ troduction of issues in art came the subordination of the form as it developed through drawing, painting and sculpture. Subject matter and issues took the place of aesthetics.

Friebert Now too much is made of the subject. It's not the how, rather it's the what — what is painted. It's come back to story­ telling. I believe in story­ telling if the aspect of how it is put together — the form — is where the real art lies.

These artists are relatively un­ concerned with the current scene. Each has found a voice and has an audience for their message.

Colt: Sensibilities change —a particular way of look­ ing, a particular aesthetic, has a certain lifetime. It has its pinnacle and then it begins to subside, other dynamics enter, and other things replace them. That's why you get such a radical change from Abstract Ex­ pressionism to Pop Art — a complete reversal. That's necessary because the young lions come in and Doris White they ride over the older ones. So this is the way life goes—it pre­ vents being static. Doris White's work is reproduced in countless books and she has had well over 50 one person Wilde: It's so sophisticated — it's Lichtner: Even at the moment I don't do shows. Most impressive, however, is that like exciting. . .1 don't know if anything is it this way or that way or another way. I Ruth Grotenrath and Schomer Lichtner, Doris going on in the work but the gallery do it the way I can — it all takes care of White is a full time, self-supporting artist. With­ sceneseems to be very exciting. Postmod­ itself. out a teaching position to rely on, paying the bills ern concerns are on a completely differ­ is always a hustle. For years she relied on the help ent level — more competitive. It gets The most beautiful aspect of these artists is they of her business manager and close friend Ruth much closer to the activity that is hap- have succeeded through perseverance. They have Henika. While Henika concentrated on business peninginthepopmusicworld. Justhow recognition and fame. details, White was free to paint. significant the work is — who knows? Sometimes I think the important stuff is Wilde: The only people that are famous White: If you'd show me a bare wall, I'd probably being done by someone no one in this country are television stars — put up a canvas. I had a show almost has ever heard of. every one else is less. Even the most every other month. famous artists, nobody knows about If s all involved with the whole business them except other artists so thafs all Initially dividing time between her Wauwatosa of public relations. In America, any­ relative. Recognition — of course you studio and another in Door County, White, with thing can be sold if you get the right PR. have to have some kind of response. You Henika's help, later turned a barn in Jackson, can sit and cook in your own juices only Wisconsin into her present studio. White is best Brink: If art has become a commodity, to a point—there has to be some kind of known as a watercolorist whose abstractions seem let's quit calling it art — let's be honest. response. to glow with inner light. Working also in oils, White builds structures echoing earth and sky Wilde: (On Kostabi, perhaps the most relationships, architectural patterns and outcrop- notorious "PR" artist). I think there are Colt: Instead of fame, you need a few pings of land forms, with surface texture and more people doing art purely as entrepre- carrots thrown your way all the time. It's tactile quality playing an ever-increasing role. neurship. They realize that there is amazing how little you need to keep you White is presently working with intaglio and money to be made if you go the right going. monotype. route. Some people have nothing to say except for their essential faith in being Friebert You want that commendation The deserving recipient of much local newspa­ able to make money. It seems to me that — if s necessary. I think that I am more per coverage, White said that at one point an art younger people are much more inter­ concerned about what my fellow artists critic told her "Doris, you have to have the big­ ested in that sort of thing. say about my work, or what they don't gest folder down at the Milwaukee Journal — say about my work. you're taking up half the filing cabinet." Brink: [The new work appearing in Paris after WWII] generalized the idea Brink: I think fame is a beautifully that everything new and different is good comforting by-product of personal en­ and that still prevails. That's why young deavor and who would like to deny f all the changes in art in the last half century, artists don't have to study draftsman­ something supportive? Still the greatest O perhaps the biggest is how marketing and ship and craftsmanship. If you come up reward and satisfaction has to be that promotion have changed the way art is created. with a funny idea and present it, you've you respond according to your own fre- 25 (Continued from previous page)

quency. You are pleased when you play I asked each artist if as they grow older there is them through. If I suffer from one thing out certain of your possibilities and they any sense of isolation or of being overlooked. at my age it would be the overabun­ find an echo — that's always pleasant. White and Lichtner had the most acute sense of dance of challenges in my mind, things change, perhaps because they had recently lost which I would like to do, experiment, Bohrod: Fame? If s a good thing. If s someone close to them; White lost her business reject and try again. nice to be in its halls. It's nice to have manager and friend Ruth Henika and Lichtner fame come easily without strain and his fellow artist and wife, Ruth Grotenrath. White Bohrod: I've built up a kind of momen­ without interruption of other people's continues to exhibit, but much more selectively, tum over the years and feeling lives. But if it doesn't, the important sometimes just shipping the work off to a desti­ I haven't said half of what could be said thing is the ability to continue to have nation. — that I'd better buckle down. ideas, to have the physical ability to pursue ideas and have a certain audi­ White: There is that one-on-one contact Lichtner: I think you do learn things ence for it—whether it's an overwhelm­ with people. Lately, I feel divorced from and, the older you get, if s interesting ingly embracing audience or a critical my audience and maybe it's because I how you actually feel wiser, naturally, audience. don't show as much. because of all the little things that have happened to you. Colt So much depends on the time, the Lichtner: We (Lichtner and Grotenrath) window that is open at a certain time, created our own environment and com­ Brink: If you have honest and truthful who sees it at a certain time and that munity. We could rely on each other and enthusiasm and want to accomplish meshing with a certain gallery or certain had each other for our audience, inspira­ something, the necessary craftsmanship museum director. That's how the big­ tion and encouragement. and technique come to you. By your gies are born — the windows open at a sincerity, no matter if you learned it or certain time. Colt Ruth (Kjaer) and I talk about art all you are teaching it to yourself. It is a the time. We talk about all kinds of matter of endurance, those things gel to Lichtner: Fame — take it humorously. things. We travel together and we do a natural conclusion. *». There is no point in working for fame. the art — that's the most satisfying as­ You have to work for the enjoyment. pect of it. There is nothing you can do about it — it's all a great big chance. Brink: I could never feel isolated from art but I could feel isolated from the Wilde: That's what it comes down to. scenery. You sit there and work on your art all day. If you don't like that, you're sunk. Finally, I asked if there were any general com­ Thaf s the critical factor, all the rest is on ments about age and most of the artists had the outside. something to say about running out of time.

Brink: I worry that I have so many ideas, and might not last long enough to see

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17 An Interview with Marvin and Janet Fishman

By Frank Lewis

(From Expressionism to Resistance, Art in Ger­ This relationship to the works in the collection was perception began to be exhausted. Coming back many 1909-1936: The Marvin and Janet Fishman poignantly illustrated by the fact that on my enter­ to the painting ceased to challenge our intellects Collection is on view at the Milwaukee Art Museum ing the exhibition space, I found Mr. Fishman alone and emotions. One of our first Meidner's on the through February 3. Janet Fishman will give agal- walking through the hall looking carefully and other hand, (Ludwig Meidner's My Nocturnal Vis­ lery talk about the exhibition on Tuesday, Jan. 22 closely at many of his favorite works. age) kept revealing itself not only in its color, stroke at 1:30 p.m. After its Milwaukee showing, the and aesthetic form, and of course its relation to exhibition will travel to Berlin, Frank/urt and The Fishmans became interested in art as students earlier painters like Van Gogh, but also in its sheer Emden, Germany, then return to the United States at the University of Wisconsin-Madison. While still power of expression. On first seeing this painting to be shown at the Jewish Museum inNew York City, dating, they attended student art openings and Marvin was almost hypnotized by its power and it thejoslyn Museum in Omaha and the High Mu­ alumni shows. After their marriage, they began col­ still holds his attention and interest after years of fa­ seum in Atlanta.) lecting small, affordable works and later as Fish­ miliarity. man became successful in the real estate field, they During a recent interview, Milwaukee art collectors moved into "Calders and Chagalls — art work that YUItseems obvious that works such as theMeidner Marvin and Janet Fishman exhibited a well de­ later bore no interest to us." Throughout their lives, you just mentioned is one of the best self-portraits served, but modest, pride at their achievement of both Mr. and Mrs. Fishman have also maintained a in the history of western art, yet I would still like to amassing what more than one early twentieth cen­ consuming interest in sports. Mr. Fishman brought ask how you define "great" art? tury art specialist has called the world's most sig­ the Milwaukee Bucks here in 1968 "almost Marvin Fishman: Certain works just reach out nificant collection of German art produced be­ singlehandedly." The Fishmans approach all of and grab you. Within one second or two, certainly tween the two world wars. It seemed that their their projects with a great deal of true passion, not as long as three, great pieces will reveal their pleasure resulted more, however, from their op­ which is the foundation of this exceptional art strength. That intensity is unbelievable and it portunity to have come to know these works inti­ collection. demands no other assessment than that of great­ mately than from the fact that the Fishmans have in ness. One also feels, on seeing that strength, that many ways been responsible for the rediscovery Frank Lewis: After talking with some of the schol­ there maybe nothing like some of these works ever and public exhibition of many significant artists ars who have visited you in your home I know that done again. who may have been forever lost in the aftermath of this is not a vault collection, you live with these World War II and the Nazi's attempted purge of piecesfilling yourenvironment. Why did you chose JF: Also, after looking at 50 paintings of similar much of modern German art. And unlike some to surround yourself with art that many people subject matter and knowing the tenets and ideas collectors, whose insatiable hunger demands col­ would find visually and socially disquieting? which informed a movement like German Expres­ lecting through agents and buyers the world over, Janet Fishman: We found when we owned a sionism, a few paintings stand out as perfect ex­ the Fishmans have built their collection through Monet, after a while the beauty of the color and the amples of a movement, a time, or an individual art­ extensive research and scholarship and out of a lessons which Monet was teaching about light and ist. personal response to the art.

26 Art Mu/cLe ering artists who produced works of FL: Early in your collecting you pur­ quality which have been overlooked. chased not only Wisconsin art but That period was a time of incredible paintings from other countries and artistic production and strong work periods. I recall the mention of a which has been overlooked by those Monet and a Courbet, for instance. At who chose to speak of only Picasso what point did you begin to focus your and Matisse. collecting on German art produced, for the most part, between 1914-1936? FL: As collectors you have been ac­ JF: It was the Meidner that moved us tively involved in the acquisition of into expressionism. Then in 1980 we every single piece; you don't use agents went to Minneapolis and saw the first or buyers. Is this a part of the joy of Neue Sachlichkeit exhibition in the collecting? U.S. and we just couldn't believe what JF: Yes, yes, very much. Every item we were seeing. We went home and has its own story, FrauBieneCz paint­ read and studied and then decided that ing by Fritz Burmann), for instance, was where we wanted to go. was found behind a door in a gallery. Every time someone entered or left, MF: We saw the same exhibition again the door would bang this wonderful in Chicago and we knew even more painting and then after we had ac­ that that was the area we were inter­ quired it we found out that it had been ested in. That exhibition showed us in the very first Neue Sachlichkeit something about the excitement of exhibition in Mannheim in 1925. Berlin during this time. Berlin and its artists and intellectuals was the most MF: Yes, every painting has a story for exciting city in the world, far surpass­ us. These landscapes over here (Dan- ing Paris and the rest. gast Village Landscape with Canal, 1909 by Erich Heckel and Tempest, JF: The decadence of Berlin in the 1911 by Hermann Max Pechstein) I twenties showed that, too. It was a found when I was going through an very special place, a unique place and auction catalogue of British Sporting it still is that way to a certain extent Prints of the 18th and 19th centuries. even today. That is one of the reasons that we are so looking forward to the opening of this exhibition in Berlin. JF: Marvin is always reading and look­ ing, even at things that ostensibly have nothing to do with the period. The MF: There.are paintings from other German dealers often think that they places, but this is Berlin art. The stimu­ have discovered some artist and when lus of that period and that place is what they mention the name Marvin says really appealed to us. Who would buy 'Oh yes, he showed in the such and a watercolor of strikers and police such exhibition,' or Yes, his dates are milling around a building? Nobody Ludwig Meidner, My Nocturnal Visage, 1913. 18 something to 1944.' would buy that. But we saw it in a catalogue and said this is just perfect for the period FL: At some point then you moved from being MF: I placed a bid over the phone, something that and it's a well done piece by an artist who deserves connoisseurs of art to being collectors with a spe­ I don't usually do, because I couldn't get to New to be known, Karl Schwesig. Here was an artist only cific direction? York for the auction. Later I remember it was while known in about three areas of Germany. It is not MF: Oh, I think we are still connoisseurs, but we I was shaving someone called to tell me that I had that most people do not want to know, but rather are also collectors, though maybe for different just bought two paintings. Well, I immediately they don't have time to know, there is just so much reasons than most people collect. We collect to get took a flight the next day to see what I had pur­ that was done and so much of quality. all of the unknown artists that we can find that chased. deserve to be up front. Purchase the material, FL: From what 1knowof theperiod andwhat1can restore it if necessary, frame it and then show it to Once we found a painting entitled Portrait of a see in many of the works here, a large number of the the public. This may sound corny but these artists Man . Because no one in the gallery knew what artists were members of the political left. Do these deserve their place in the sun. Meidner looked like, they didn't know it was a self- radical and socially engaged qualities in the works portrait. There are so many artists that many spe­ reflect your personal political position or do your JF: But when we first began to collect we bought cialists just do not have the time to learn about them responses come more from the aesthetic/formal paintings just because we loved them and got all. It is satisfying to be able to help someone. aspects in the works? excited by them. As we have continued, we have MF: I think some of it is personal philosophy, but adapted as collectors, buying what we love on an FL: Does this exhibition mark the end of your none of that is immediately and readily apparent on emotional level and also what we know we need collecting works from this period of art history? the surface of the works, one must look a little to fill in. I guess it is at that point that the pieces JF: Just yesterday, Marvin came home with an deeper into the time to discover those things. became a "collection." incredible picture of a work by an artist who we had not heard of but who belongs in this collection. JF: Clearly the strongest work in Neue Sachlichkeit FL: You seem to feel a sense of responsibility not was the Verists and the artists from the Left. But the only to the legacy of the artists, but also to the MF: Yes, there is more out there that belongs in this Magic Realists, which we have a little of, were from public. lam aware of how generous you have been collection, or another collection or in a museum the Right, so there is a conservative group repre­ with scholars, students, and other people inter­ where they can be seen and appreciated. And we sented too, but the Left artists were the heralds to ested in viewing your collection. continue to add things because years from now the world. They told the world what was going on MF: Well yes, certainly. For instance we have a when we are gone this collection will remain for and that for me, and I think Marvin too, is what art photocopy of a letter by Meidner in which he says people to see and to study. For the most part is really about. that this (indicating My Nocturnal Visage) self though, I feel I'm done. While there still are many portrait is his best work. To be able to have not things out there that would fit the collection, I don't MF: Yes, take Meidner, for instance, he was the only this particular work, but many other pieces by think we will be adding much more to it. If we most complete expressionist, although the fact that the same artist gives us the opportunity to exhibit happen to come across something that is so unique he was Jewish didn't hurt us one bit. More impor­ a body of work by an individual artist who had, and beautiful, I suppose we will add to it, but we're tantly he was complete in both his work and his because of the war (World War II) and the politics not going to go at the same pace. >**»• writing. He said that the artist should influence the of the time, become almost an unknown. One of world. If artists in their works and writing did not the pleasures we derive from collecting is discov- do this, who would? 29 Grand Opening Dicover the New ]ine&es?/

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Call or write for information Fritz Gordon Dinesen Serving Milwaukee Since 1964 2519 Northwestern Avenue, Racine, 53404 A name you can trust for great 414/636-9177 values and sincere personal service Hours: Mon. - Fri. 10a.m. - 6p.m., Sat. 10a.m. - 5p.m., Sun. Noon - 4 798 N. Jefferson, Milwaukee Phone (414) 277-7747

At the Metropolitan

January 12: Riverwest Artist Association meets Walker's Point Artist Association

February 16: Wood Show curated by Debra Brehmer (Opening Receptions occur 7-10 p.m. on thefirst day of the show)

Metropolitan Gallery 900 S. 5th Milwaukee, WI 53204 (414) 672-4007 Tues.-Fri. 1-7 Sat. & Sun. 12-5

••:,••': '•.'•:"'•••:••••'.• • ••..••• Continuing to Jan. 26th "Postcards from Europe" and Gallery Group Show

Opening Sunday, Feb. 3rd. 3 - 5:30 p.m. 2nd Annual "Remakable Women" Show; Allen, Greenebaum, Henschel, Kingsbury, Matiosian, Myers, Pasin Sloan, Perri, Plotkin, Puhek, Richards, Rzezotarski, Schuette, Terry, and others. Peltz Gallery 1119 E. Knapp St. Milwaukee, WI. 53202 (414) 223-4278

30 Art Mu/cLe Now-January 26 Now-February 17 January 18-March 3 I e n d a Modern Fantasy Abstraction Richard Lippold Sculpture: A Retrospective From Primitive to Decadent: Roberta Scherrer Gerds, oil paintings; Bank 1950-1988 Subject & Style in Japanese Prints, 1680-1880 One Plaza Art Galleries, Second Floor Gal­ Drawings, models, photomurals, &16 sculp­ Opening reception Jan 18 5-7pm; UWM: Art Arts Organizations: lery,! 11 E. Wisconsin; 765-2566 tures; Haggerty Museum of Art: Marquette History Gallery; 229-4060 Please add Art Muscle to University; 288-7290 your mailing lists Now-January 26 January 19-Febmary 20 Postcards from Europe: Nancy Greenebaum Now-February 23 Famous Women's Breastplates Oils & pastels; Peltz Gallery, 1119 E Knapp; Gisela Magdalena Moyer: At Home Richard Schneider with an exhibit of 40 ce­ PO Box93219 223-4278 Handmade paper/mixed media; also work of ramic breastplates; Betsy Ross, Dallas Cowboy Milwaukee, WI 53203 gallery artists; Moyer Gallery, 900 Cedar, Cheerleader, Neffertiri & more; Uihlein-Peters Attn: T Gantz Now-January 27 Green Bay; 414/435-3388 Gallery, 1840 N Prospect; 272-2618 Racine Area Arts 414/672-8485 Works in all media created by artists residing Now-February 24 January 20-February 17 in Racine, Kenosha, & Walworth counties; also Art of the Heart UWM Student Art Exhibition Deadline for March 15/May 15 Tri-County Juried Photographic Print Show; Open invitational show of valentines of all Juried; work by students in upper level studio Wustum Museum of Fine Arts, 2519 Northwest­ kinds; West Bend Gallery of Fine Arts, 300 S courses; opening reception Jan 20 l-4pm; issue is February 20 ern Ave; 414/636-9177 6th Ave, West Bend; 414/334-9638 UWM: Fine Arts Gallery; 229-4946

All phone numbers are Area Code Now-January 27 Now-February 24 January 20-February 17 414 unless otherwise noted. Party Animals, Flying Colors Putting Pottery Into Perspective: 15 Years of Small Press Books Karen A Meer; cloth pigs, cats, rabbits, ele­ Past, Present & Future John Kruth's Jackal ope Press phants & other beasts; JM Kohler Art Center; Work of Thorn Bohnert, Richard DeVore, Ken Includes illustrations & installations; opening MAM - Milwaukee Art Museum, 750 608 New York Avenue, Sheboygan; 458-6144 Price, Robert Turner & Peter Voulkos; Lawrence reception Jan 20 1pm; Woodland Pattern, N Lincoln Memorial Drive; admission University: Wriston Art Center; Appleton; 414/ 720 E Locust; 263-5001 charged unless noted Now-January 27 832-6621 Briqitte Kozma. Tom Nachreiner January 21-March 18 &TomSeagard Now-February 24 Beneath the Ice PAC - Performing Arts Center, Water Figurative paintings; West Bend Gallery of 5th Annual National Small Print Exhibition The art of ice fishing decoys; organized by the Street at Kilbourn Avenue Fine Arts, 300 S 6th Ave, West Bend; 414/ UW-Parkside, Kenosha; 553-2404 Museum of American Folk Art, New York; 334-9638 Milwaukee Public Museum, 800 W Wells; Now-March 1 278-2791 UWM - University of Wisconsin-Mil­ Now-January 30 Gallery Artists waukee, Kenwood Boulevard at Mary Mellowes, Portraits Azoulay, Chemiakin, Otsuka, Blue, Max, Rothe January 25-March 1 Downer Avenue Evelyne Sainte Poma, Haitian boxes Luongo & Doty; 790 N Jackson; 277-9797 Disney animation eels & whimsical glass; Joyce Waterman, Watercolors of the sea opening reception Jan 25 4-8pm; Art Elements Dorothy Bradley Galleries, 2639 N Downer; Now-March 10 Gallery, 1400 W Mequon Rd; 241 -7040 332-9500 Danny Lyon: The Bike Riders Photographs of the Chicago Outlaw Motor­ January 25-March 9 Continuing Now-January 30 cycle Club from 1965-66; MAM: Segel Gal­ Roger Brown Governors Words Melt Lynch Mob Classical Realism - The Art of James Prohl lery; 271-9508 Paintings; opening reception Jan 25; Dean Photography and sketch exhibit: the struggle Piano Gallery, 219 N Milwaukee; 276-3525 Jensen Gallery, 217 N Broadway; 278-7100 for democracy in the civil rights movement; January 15-February 20 America's Black Holocaust Museum, 2479 N Now-January 31 Uncommonly Naive: Naive & Outsider Art January 25-March 17 Martin Luther King Dr; 372-0690 Men's Sketch Club Reception Jan 20 2-4pm; UW-Green Bay: Currents 18: West Allis City Hall Gallery, 76th & Green­ Lawton Gallery, 2420 Nicolet, Green Bay; Cindy Sherman, The Masters Series Now-January 19 field; 541-5486 414/465-2271 20 large color photos of the artist as various Naives, Seers, Lone Wolves & World Savers III subjects of Old Master paintings; opening Folk & outsider art; Dean Jensen Gallery, 217 New-February 1 January 15-25 reception Jan 24 5:30pm; lecture at 6:15pm; N Broadway; 278-7100 Walker's Point Artist's Association Exhibition Milwaukee Now & Then MAM: Journal/Lubar Galleries; 271-9508 Local talent in the back dining area; artists John Otis, 79yr old Bay View photographer; Now-January 20 include Chism, Hooks, Povlich, Moriarty, & reception Jan 18 7-9pm; Firestation Gallery, January 25-February 9 In My House:Porcelain Sculptures of Laura Adamczyk. Chip & P/s, 815 S. 5th; 645- 5174 N Hopkins; 462-5509 Walker's Point Artists Association Peery & Lia Zulalian; also 3435. Juried Exhibition; opening reception Jan 25 7- Industrial Landscape:Panoramic photocollages January 18-Continuing 10pm; Walker's Point Center For The Arts, 911 of Masumi Hayasni; John Michael Kohler Arts Now-February 3 George Green W National; 672-2787 Center, 608 New York, Sheboygan; 414/ From Expressionism to Resistance, Art in Ger­ Paintings; opening reception Jan 18 6-9pm; 458-6144 many 1909-1936 Posner Gallery, 207 N Milwaukee; 273-3097 January 27-February 28 The Marvin & Janet Fishman Collection Mary Nohl Now-January 20 German art from the period between the World January 18-February 16 Sculptures; opening reception Jan 27 1 -4pm; Treasures II Wars; Joumal/Lubar Galleries: MAM; 271- Songlines Cardinal Stritch College: Layton Honor Gal­ Small wonders for children & adults; Artspace, 9508 New color photography by Janica Yoder; lery, 6801 N Yates; 352-5400x466 Kohler, Wisconsin Opening Gallery Night 6-9pm; Now-Feb 3 Michael H. Lord Gallery, 420 E. Wisconsin; January 30-February 24 Now-January 20 Joan Kaprelian 272-1007 Selections from the Bergstrom Mahler Art From Bruegel to Hockney: Charcoal & wash nudes; Village Church, 130 E. Museum Glass Collection A Decade of Print Acquistions Juneau; 273-7617 January 18-February 22 Reception Feb 3 1:30-4pm; West Bend Gal­ MAM: South Entrance Gallery; 271-0508 Visions of Our Own: lery of Fine Arts, 300 S 6th, West Bend; 414/ Now-February 11 Local African American Artists 334-9638 Now-January 24 A Partnership of Three: Works in various media portraying the black UWM Students Discover The Art Of Sitting Weaver, Statom & Mosley experience; opening Jan 187:30-l0pm;UWM: February 1-18 Projects of students from the furniture design JM Kohler Arts Center, 608New York Avenue, Union Art Gallery; 229-6310 Milwaukee Illustrators Artwork course;UWM; Golda Meir Library; 229-4454 Sheyoygan; 414/458-6144 Ellen Anderson & K Dyble Thompson January 18-February 28 Original artwork from two new children's books; Now-January 26 Now-February 13 Nature's Territories- daily; Webster's Bookstore, 2559 N Downer; Dan Paulos, Silhouettist Friendly Competition Perspectives of 4 Wisconsin artists 332-9560 Delicate paper cuttings depicting the life of Riverwest Artist Association Meets Walker's John Colt, Karen Gunderman, Stephen Samer­ Jesus Christ; Eastbrook Church, 2844 N. Point Artist Association; a full bag of talents in jan, & Tom Uttech;opening Jan 18; Tory Fol- February 1-28 Oakland; 332-7730 Galleries I & II; Metropolitan Gallery, 900 S liard Gallery, 233 N Milwaukee; 273-7311 Billboard Art 5th; 672-4007 MIAD & Patrick Media project featuring stu­ Now-January 26 January 18-March 2 dent work on billboards; Wisconsin Tundra Now-February 16 The Third Annual Teapot Show Located at: Humboldt & South Garfield; State Linda Marie Taylor; oil & watercolor land­ Grant Richter: Polaroid SX-70 Exploration Funky & Functional teapots from artists repre­ & 16th; State 8< 17th; St Paul & E 3rd; Van Buren scapes; Bank One Plaza Art Galleries; Water Manipulation through light & exposure; Silver senting 35 states; opening reception Jan 18 5- & South Brady; Water & E Jackson; 1st & N Street Gallery, 111 E. Wisconsin; 765-2566 Paper Gallery, 800 E Burleigh; 264-5959 8pm; A Houberbocken, Inc, 230 W Wells, Sieboldt; 8th & N Pittsburgh; 276-7889 suite 202; 276-6002

"Tense, beautiful, haunting..." UWM Art Museum -WAUKESHA FREEMAN

Verging on Emergence 'Theatre doesn't get much better than this." An Invitational Exhibition of Milwaukee Artists -MILWAUKEE JOURNAL University Art Museum Vogel Hall "The ensemble uniformly demonstrates a February 1st through March 17th dynamic strength." From Primitive to Decadent -ART MUSCLE MAGAZINE Subject and Style in Japanese Prints 1680-1880 "Brutally fresh...Best Bet" Art History Gallery -MILWAUKEE MAGAZINE Mitchell Hall January 18th through March 3rd "There's magic in the Inside Theatre" -MILWAUKEE SENTINEL Annual Student Art Exhibition Fine Arts Gallery Fine Arts Center SEEING IS BELIEVING January 20th through February 17th

University of Wisconsin-Milwaukee For additional information telephone 414-229-5070 BOX OFFICE 414-968-4555

31 February 1 -March 3 February 26-March 28 February 14-16 Cuadros from Pamplona Alta: Redbanks: An Installation by Truman Lowe Les Sylphides, Glazunov Variations & Textile Pictures by Women of Peru Artist's lecture 5-6pm, reception 6-8pm Feb Virgin Forest Wall hangings depicting barrios life outside 26; UW-Green Bay: Lawton Gallery, 2420 Milwaukee Ballet; Th 7:30pm F,Sa 8pm Su Lima, Peru; Alverno College: Art & Cultures Nicolet Drive, Green Bay; 414/465-2271 1:30 8,7pm; $6-$45; PAC: Uihlein Hall; 273- Ongoing Gallery, 3401 South 39th; 382-6149 7206 Paradise Theater February 27-March 31 Jan 15-17—Vertigo February 1-March 17 5th Parkside National Small Print Exhibition March 1 & 2 Jan 22-24—A Night at the Opera Verging on Emergence: 80 small-scale prints from around the nation; Stephen Petronio Dance Company Jan 29-31—The Thief of Bagdad Invitational Exhibit of Milwaukee Artists organized by UW-Parkside; public reception 8pm; $10; Alverno College, 3401 S 39th; Feb 5-7—Gone With the Wind; 7pm only Includes winners of the Mifw County Artisf s Mar 3 1:30-4pm; West Bend Gallery of Fine 382-6044 Feb 12-14—Mr Smith Goes to Washington Fellowships; opening reception Feb 1 5-7pm; Arts, 300 S 6th, West Bend; 414/334-9638 Feb 19-21 —Meet Me in St Louis UWM: Art Museum; 229-5070 March 3 Feb 26-28—The Postman Always Rings Twice February 28-May 5 Alvin Ailey Dance Theater March 5-7—Wuthering Heights February 2-March 17 Fashion & Furnishings in the Age of Mozart Presented by the Milwaukee Ballet; 7:30pm; March 12-14—The Big Sleep Borderland: Paintings by Charles Munch Period costumes, ceramics, furniture, silver, Pabst Theater, 144 E Wells; 278-6633 7 8c 9pm; $1.50; 62nd at Greenfield Reminiscent of religious art, but with subject works on paper, paintings & sculpture; MAM: matter drawn from nature;opening reception Teweles Gallery; 271 -9508 January 19 Feb 1 5-7:30pm; MAM; Cudahy Gallery of Maurice Sendak Mini-Festival Wisconsin Art; 271-9508 March 1-31 Where the Wild Things Are, Really Rosie & In Milwaukee Public Schools Youth Art Show the Night Kitchen; 10:30am 8, 1 pm; MAM: February 3-March 3 Award-winning student art from Milwaukee's January 15 Multi-media Theater; 271 -9508 Scholastic Art Awards northwest side; Firestation Gallery, 5174 N Martin Luther King Birthday Celebration 64th National High School Art Exhibition. Hopkins; 462-5509 Presented by the City of Milwaukee; Pabst January 19&20 Regional component of the largest juried stu­ Theater, 144 E Wells; info 278-3663 The Blue Angel dent exhibition in the country; MAM; South March 1 -April 7 Josef von Sternberg, 1930; 2pm; MAM: Multi­ entrance & Faye McBeath Galleries; 271-9508 Academic Drawings of the Late 19th & Early January 18 media Theater; 271 -9508 20th Century Gallery Night February 3-March 10 Lawrence University: Wriston Art Center; Area galleries will be open 6-9pm January 26 & 27 Wisconsin Photography '91 Appleto; 832-6621 Mother Krause's Journey into Happiness Juried; approx 90 works; also January 23 Piel Jutzi, 1929; 2pm; MAM: Multi-media African Jewelry from a Private Collection March 1-April 13 Day of Desperation Demonstration Theater; 271 -9508 Opening reception Feb 3; Wustum Museum of Group Glass Exhibit Act Up Fine Arts, 2519 Northwestern, Racine; 636- Tory Folliard Gallery, 233 N. Milwaukee ; Aids/Anger/ Action February 1 & 2 9177 273-7311 Info 769-8708 Jom, The Story of a People Ababacar Samb, 1982; 8pm; free; Feb 1 at February 3-March 13 March 1-May 27 Wisconsin Black Historical Society, 2620 W Remarkable Women Kristine Gunther & The Group Of Six Center; Feb 2 at UWM Union Cinema Nancy Greenebaum, Ingrid Henschel, Anne 6 artists working under the guidance of Gun­ Kingsbury, Pamela Matiosian, Frances Myers, ther; Ney Tait Fraser, Mary Mellowes, Sophie February 2 Christine Perri, Linda Plotkin, Glenda Puhek Parker, Mona Schudson, Hilda Stern & Diane Why Mosquitoes Buzz in People's Ears Jacqueline Richards, Jeanette Pasin Sloan, Sweitzer; opening reception March 171 -3pm; Mufaro's Beautiful Daughters Evelyn Terry & others; opening reception Feb 3 Piano Gallery, 219 N. Milwaukee; 276-3525 10:30am & 1 pm; MAM: Multi-media Theater; 3-5:30pm; Peltz Gallery, 1119 E Knapp; 223- 271-9508 4278 March 3-31 National Broadside Exhibition February 2 & 3 February 11 -March 9 Letterpress printed broadsides from collegiate M Designing with Illustration & private presses; opening reception Mar 3 2- Fritz Lang, 1931; 2pm; MAM: Multi-media Work of Melissa Grimes 8c numerous Wiscon­ 4pm; UWM: Fine Arts Gallery; 229-4946 Theater; 271 -9508 sin professional illustrators; opening reception Feb 14 4:30-7pm; Milwaukee Institute of Art &. February 15 & 16 Design, 342 N Water; 276-7889 Quilombo Carlos Diegues, 1984; 8pm; free; Feb 15 at February 15-March 30 Wisconsin Black Historical Society, 2620 W Subtle Memories, Broken Promises Center; Feb 16 at UWM Union Cinema Evelyn Terry installation with a performance January 25 & 26 by Patrick Turner; opening Feb 15 7-lOpm; Diane VanDerhei March 1 & 2 Walker's Point Center For The Arts, 911 W New &. revised works by the dancer/choreog­ Pressure National; 672-2787 rapher; with members of Wild Space Dance Horace Ove; 8pm; free; Mar 1 at Wisconsin Company; 8pm; $10; Alverno College, 3401 Black Historical Society, 2620 W Center; Mar Diane VanDerhei, Photo by Jim Brozek February 15-March 30 S 39th; 382-6044 2 at UWM Union Cinema Oneness: An African American Perspective Dorthea Taylor & Charly Palmer, acrylics, February 1 & 2 February 8 March 15 drawings & pastels; opening reception Feb 15 Bauer Contemporary Ballet Mardi Thaw Don Pedro: La Vida de un Pueblo 1 -4pm; Dennis Uhlig Gallery, 1932 E Capitol; Original works choreographed & performed Competition with prizes for best Mardi Gras By Norberto Lopez; 8pm; free; Wisconsin 964-6220 by company members; 8pm; $10/$8; 727 N Look; open to anyone; music by Mrs Fun; Cafe Black Historical Society, 2620 W Center Milwaukee, Third Floor; 276-3180 Melange, 720 N Old World Third; 291 -9889 February 16-March 27 Wood Show February 1 February 10 Juried exhibition, curated by Debra Brehmer; Dance Brazil Environrest artists working in any wood media induding The acrobatic Capoeira & Maculele, the ritual A winter event for all ages focusing on environ­ Marvin Hill,Gail Panske, Mark Lawson, Frank Candomble & sensuous Samba; 8pm; $13 & mental issues for the 90s; South Shore Park January 15,22 & 29 Ford, Jill Sanders & others; opening reception $16; Pabst Theater, 144 E Wells; 229-4308 Pavilion; 11 am-4pm; $15 donation requested From Expressionism to Resistance Feb 16 7-10pm; Metropolitan Gallery, 900 S (families $25); info 271 -7280 GallerytalksbyJanetFishman; 1:30pm;MAM: 5th; 672-4007 February 10 Journal/Lubar Galleries; 271 -9508 On Broadway February 16 February 17-March 15 Students & instructors from the Fred Astaire Art Throb January 17 & February 21 Cityscapes; paintings by Marc Jacobson Dance Studios present selections from famous Annual Valentine's day art party; music, food Bluffer's Guide to Art Color photographs; Sandy Lewis Broadway shows; choreographed by Stephen & drink; 8pm-midnight; MAM; info 271 -9508 Informal lecture on understanding art led by a Opening reception Feb 17 l-4pm; Jewish Wright; benefit for United Cerebral Palsy; member of the curatorial staff; 5:30pm; MAM; Community Center, Fishman Gallery/Ross Art 7pm; PAC: Vogel Hall; info 351 -4333 March 2 271-9508 Wing, 6255 N Santa Monica Blvd; 964-4444 13th Annual Grand Viennese Ball February 13 UWM Symphony Orchestra & Jazz Ensemble January 24 February 23-April 27 Last Supper at Uncle Tom's Cabin Proceeds benefit the UWM Music Dept Schol­ Currents 18: Cindy Sherman Patricia Graham: Pastels on Paper Bill T Jones/Arnie Zane Dance Company arship Fund; 7pm, Marc Plaza Hotel; reserva­ The Masters Series; Arthur Danto, philosopher Opening reception Feb 23 6-10pm; Silver New work; 8pm; $18 & $22; Pabst Theater, tions 229-4762 & art critic will speak at the exhibit opening; Paper Gallery, 800 E Burleigh; 264-5959 144 E Wells; 229-4308 6:15pm; MAM: Memorial Hall; 271-9508

February 1,1991 to 1340W.TowneSq.Rd. Mequon 241-9589

32. Art Mu/cLe January 25 & 26 February 27-April 17 The Context of Collaboration in Public Art New Women Writers of Fantasy literature Invited speakers include Richard Lippold (sculp­ Works of women writers who first published SOMETHING NEW IN WALKER'S POINT tor), M Christine Boyer (Pratt Institute), Harald between 1970 & 1980; 8 Wednesdays, 7- Deilmann (West German architect), Robert M 8:30pm; $65; Marquette University; 288-7345 Beckley(U of Michigan), William Tischler (UW- B A L L E R I N A S Madison) 8c Edith M Netter (attorney); info, February 28 B E A U T I F U L Marcia Eidel, 288-7290 Artists Forum: Decorating Dillinger Oliva Villaluz-Peters, set decorator; 6:15pm; B R 0 N Z E S - - and m o r e January 27 MAM: East Entrance; 271 -9508 From Expressionism to Resistance Gallery talk by Dean Sobel; 1:30pm; MAM: March 5 Journal/Lubar Galleries; 271 -9508 Borderland: Paintings by Charles Munch Gallery talk by Janet Treacy; 1:30pm; MAM: February 2 Cudahy Gallery; 271 -9508 Taller Mujeres Creativas 8c Grupo Compact© Humano March 16-23 Sr Barbara Cervenka on 2 Peruvian art coop­ New York Theater Tour eratives established to help poor women sup­ Sponsored by UW-Parkside Dramatic Arts plement meager incomes; 2pm; Alverno: Art 8c Dept; 7 nights; $495-$595; info 414/553- Cultures Gallery, 3401 S 39th; 382-6149 2581 or -2568

February 2 April 11-14 A G A L L E R Y Masterclass with Shlomo Mintz Washington, DC Arts Tour UWM Institute of Chamber Music;11 am-1 pm; Sponsored by the Jewish Community Center; 817 S. 5TH STREET • MILWAUKEE, WI 53204 free; UWM: Fine Arts Recital Hall; 229-4564 Th-Su; $995; info Micki Hirschberg 964-4444 OPEN WED. THURS. FRI. EVENINGS, SAT. 11 - 6 P.M.

February 3 May 20-June 4 or by appointment/call 645-4487 Bergstrom Mahler Museum Glass Collection Arts Tour of England Jan Smith, curator of collections; 2-3pm; West Sponsored by UW-Parkside Dramatic Arts Bend Gallery of Fine Arts, 300 S 6th Ave, West Dept; $1736 (double occupancy); info 414/ Bend; 414/334-9638 553-2581 or -2564

February 5 Danny Lyon: The Bikeriders Gallery talk by Tom Bamberger; 1:30pm; MAM: Segel Gallery; 271-9508

February 5 January 18 DanceBrazil No Guns For Oil Workshop; dancers 8< athletes of all ages and Open mike for poetry about the mid-east 8c skill are invited to learn about Afro-Brazilian poetry by mid-eastern poets; 8:30pm; $3 dance; 3:45-5:00pm; $7/$5 (members) JM donation; The Coffee House, 631 N 19th; 273- Kohler Arts Center, 608 New York., She­ 0922 boygan; 414/458-6144 January 20 February 7 Fifteen Years of Small Press Poetry Books Art of the Heart John Kruth will read at the opening l-5pm; Valentine greeting workshop for the family; 6- Woodland Pattern, 720 E. Locust; 263-5001 9pm; West Bend Gallery of Fine Arts, 300 S 6th Ave, West Bend; 414/334-9638 February 15 Homeward Journey: Africa to America February 10 Reginald Finlayson 8c african-american stories Belter Sofa 7:30pm; $2 $5 8c $l0(family); The Coffee Master of the Month gallery talk by Jayne House, 631 N 19th; 273-0922 Stokes; lpm; MAM: Lake Level; 271-9508 February 16 1200 S. First St. 645-3177 Hours: 11 -5 Daily, Closed lues. February 13-March 20 Ellen Anderson 8c K Dyble Thompson Music Appreciation: Two Milwaukee illustrators sign their new The Enjoyment of Orchestral Music children's books; 2-4pm; Webster's Bookstore, 6 Wednesdays 5:30-7:30pm; $80; includes 2559 N Downer; 332-9560 attendance at Mihv Symphony concert March 15; Marquette University; 288-7345 February 22 Soap Poetry Group W1E) fflBOSK] February 19 Readings from their recently published anthol­ Currents 18: Cindy Sherman ogy; 8:30pm, $3 donation; The Coffee House, Gallery talk by Dean Sobel; 1:30 pm; MAM: 631 N 19th; 273-0922 Journal/Lubar Galleries; 271 -9508

February 21 Roger Brown The artist will lecture (in conjunction with show at Dean Jensen gallery); 6:15pm; MAM: 271 - January 15-31 9508 The Coffee House Jan |9-Larry Penn 8c John Walker February 22-23 Jan 25-John Stano 8c David Garcia Wisconsin Women's Conference 8c Expo Jan 26-Keith Brown 8c Joseph Ruback Workshops 8c exhibits; Mario Thomas, keynote Jan 27-Talent contest auditions; speaker Feb 23; MECCA; info 276-4477 8:30 pm, $3 donation; 631N 19th; 273-0922

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33 January 15 February 2 DENNIS HANTHORNI-GENERAL DIRECTOR Nebraska Wesleyan University Choir Chris Farrell William Wyman, conductor; 7:30pm; $5/$3; Chicago singer-songwriter; also Jean Brandt Cathedral of St John, 812 N Jackson; 224- 8:30pm; $3 donation; The Coffee House, 631 FLORENTINE OPERA 1990-91 0250 N 19th; 273-0922 OF MILWAUKEE 58TH SEASON January 19 February 2 1991 UWM Concerto Competition High School Honors Orchestra Festival Auditions; 1 -6pm; free; UWM: Fine Arts Re­ Margery Deutsch & Harvey Felder, Conductors cital Hall Wnners of the 1 st annual UWM Young Artists xdU^ Competition; 7:30pm; $7/$3.50; Pabst Thea­ JUNE 20, 22, 23,1991 January 19&20 ter, 144 E Wells; 229-4308 Music byjohann Strauss Milwaukee Symphony Orchestra & Chorus MARCH 21, 23, 24,1991 February 8-10 Sung in English Sa 8pm Su 7:30pm; $12-$40; PAC: Uihlein Music by Giuseppe Verdi Hall; 273-7206 Milwaukee Symphony Orchestra Sung in Italian ALL OPERAS ARE PRODUCED Zdenek Macal, Conductor WITH ENGLISH SUPERTITLES- January 20 Ronald Shawger, Cello the English translation ^ -^ Joan LaBarbara F,Sa 8pm, Su 7:30pm; $12-40; PAC: Uihlein projected above PRESENT Music Hall; 273-7206 the stage. Works by Ms. LaBarbara, Mel Powell, Erik Satie, & John Cage February 8-16 3 pm; UWM Fine Arts Recital Hall, 2400 E. The Mid Wnter Folk Festival Kenwood; 229-4308 Feb 8-Winter Talent Extravaganza; $4 APRIL/7 25, 27, 28,1991 Feb 9-Howard Armstrong & Rich and Mau­ Music byC^Aolfgang Amadeus January 25-27 reen Del Grosso; $8 Mozart Lucky Strikes Hit Parade Feb 15-Homeward Journey: Africa to Amer­ Sung in Italian ^ Milwaukee Symphony Pops ica; Reginald Finlayson; 7:30pm; $5 & $2; Milwaukee Symphony Chorus family rate $10 / Sa 8pm Su 7:30pm; $13-43; PAC: Uihlein Hall; Feb 16-Let s Get Together Folk Concert: Cele­ 273-7206 brate Ethnic Diversity; Shinobu Sato, Oscar Mireles, Cathy Barton & January 26 Dave Para, The Voices of Praise Choir, plus The Lovely Liebowitz Sisters talentcontestwinner; $8; 8:30pm unless noted; Music of the 40s by a "bulky version of the The Coffee House, 631 N 19th; 273-0922 Andrews sisters;" 8pm; $9-15; Capitol Civic Center, 917 5 8th, Manitowoc; 1/683-2184 February 10 UWM Fine Arts Quartet COME January 27 Ralph Votapek, guest pianist; works of Mozart, DANCING Suprebowl Pops Concert Menedelssohn & Dohananyi; 3pm; $10; UWM: Milwaukee Civic Symphony Orchestra Fine Arts Recital Hall; 229-4308 1:30 & 3:30pm; free; Jewish Community Cen­ ter, 6255 N Santa Monica; 276-0615 February 11 Music or Mozart January 27 Mac Dowell Club of Milwaukee; 10:30am; Wolfgang Laufer, Cello free; Milw Women's Club, 813 E Kilbourn Cafe Melange Robert McDonald, Piano Mendelssohn, Schubert & Brahms; 3pm; $10; February 11 UWM: Fine Arts Recital Hall; 229-4308 Milwaukee Chamber Orchestra 720 N. Old World 3rd St. Archbishop Rembert Weakland, guest narra­ 291-9889 January 27 tor; music of Mozart & Stravinsky; 7:30pm; Lou & Peter Berryman $15; PAC: Vogel Hall; 273-7206 lunch, dinner, tap dance & blues The Gilbert & Sullivan of Wsconsin; musical comedy; 3pm; $1; JM Kohler Art Center, 608 February 12 New York, Sheboygan; 414/458-6144 Artist Series at the Pabst we deliver business luncheons Emanuel Ax To the Downtown January 27 Winner of 1 st International Arthur Rubinstein Milwaukee Youth Symphony Orchestra piano competition; 8 pm; $10/$22; Pabst Margery Deutsch, conductor Theatre, 144 E Wells; 226-8801 Benefit Concert; 3pm; $5-$25; PAC: Uihlein Hall; 273-7206 February 14 & 15 Stradivari Trio OPEN January 29 Music of Mozart, Downey & Brahms; Th,F Gewandhaus Bach Orchestra of Leipzig 8pm; $12.50 & $13.50; PAC: Vogel Hall; 11 a.m. to 11 p.m. 31 strings & winds from the full orchestra; 273-7206 Tuesday to Thursday works of Bach & Mozart; 8pm; $10-22; Pabst • Theater, 144 E. Wells; 226-8801 February 15 Friday and Saturday UWM Wind Ensemble & Symphony Band > 11 a.m. til Midnight January 29 Thomas Dvorak, Conductor; 12;30pm; free; LU Mercury Wind Quintet UWM: Union Concourse • 12:30pm; free; UWM: Union Art Gallery Lunch and Dinner February 15 Specials Daily January 31 Pro Arte Quartet LU • Liszt: The Devil Made Me Do It! Chamber music; 8 pm; $9-$l 4; Alverno Col­ CO SUNDAY BRUNCH Jeffrey Siegel, Keyboard Conversation; 7:30pm lege: Pitman Theatre, 3401 S 39th; 382-6044 10 a.m. to 3 pjn. $14/$l 0; PAC: Vogel Hail; 273-7206 February 17 Q • January 31 Civic Music Association Homestyle and Food and Spirits Z UWM Symphony Orchestra Carol Robertson, Coloratura Soprano International Specials Margery Deutsch, Conductor 2:30pm; free; Villa Terrace, 2220 N. Terrace; < 12:30pm; free; UWM: Union Concourse 382-6139 Late Night Fare NER OF NEWHALL • January 31-February 2 February 17 Piano by Leigh Cowen Milwaukee Symphony Orchestra UWM Wind Ensemble & Symphony Band Zdenek Macal, Conductor Thomas Dvorak, Conductor Friday and Saturday Shlomo Mintz, Violin; Th 11 am, F 7pm, Sa 7:30pm; $6/$3; PAC: Vogel Hall; 229-4308 8pm; $12-$40; PAC; Uihlein Hall; 273-7206 February 19 February 1 Music in the Museum Los Folkloristas Music of 19th Century France & French art of Seven member troupe plays music from Mex­ the period; with Jeffrey Hollander; 5:30pm; ico & Latin America; 8 pm; $8-$l6; Alverno $10; MAM; reservations 271-9508 College; 3401 S 39th; 382-6166 February 21 February 1 UWM Institute of Chamber Music Open Stage 8pm; $4/$2; UWM: Fine Arts Recital Hall; Music, poetry, etc; The Coffee House, 631 N 229-4308 19th; 273-0922 February 23 February 1 Fabulous Stubbs First Friday Rock-oriented folk with a slice of humor; open­ Live jazz, hors d'oeuvres & tours; 5:30pm; $4; ing with Pamela Means; 8:30pm; $3 dona­ MAM; info 271 -9508 tion; The Coffee House, 631 N 19th; 273-0922

February 2 February 23-25 Consort of Musicke of London Milwaukee Symphony Orchestra Early Music Now Harvey Felder, Conductor Soprano & basso accompanied by lutenist; Jeffrey Siegel, Piano; Sa 8pm, Su,M 7:30pm; 8pm (preconcert lecture 7:15pm); $14/$12; $12-40; PAC: Uihlein Hall; 273-7206 Centennial Hall, 733 N 8th; Milw Tix 271- 3335 February 24 Hymn Festival of African-American Music February 2 Roderick Bell, Organist & The Festival Choir Senior Honor Recital Gospel singers; inspired by stations of the High School senior vocalists & instrumentalists cross; 2:30pm; $5/$3; Cathedral of St John, from a 6 county area are invited to participate; 812 N.Jackson; 224-0250 10am; register by Jan 21; JM Kohler Art Center, 608 New York, Sheboygan; 458-6144 34 Art Mu/cLe February 26 & 27 March 13-17 Unity in the Community The Abduction from the Seraglio Gospel music & discussion of solutions to Mozart problems facing today's blacks; 9:30am & Skylight Opera Theatre CALL FOR ARTISTS 1:30pm; PAC: Uihlein Hall; info 265-0099 F,Sa 8pm Su 2 & 7pm; Pabst Theater, 144 E Wells; 278-3663 February 27 The Imperial Bells of China March 15-17 Art consultant reviewing 8pm; $12; UW-Parkside, Kenosha; info 414/ Milwaukee Symphony Orchestra 553-2278 Lukas Foss, Conductor artists' ivorks Miriam Fried, Violin February 28 F,Sa 8pm, Su 7:30pm; $12-40; PAC: Uihlein for representation. Milwaukee Concert Band Hall; 273-7206 Patricia Wellman, Conductor World Premiere of City of Festivals Suite; also March 17 Send 20 slides with guest appearance of Waukesha Area Sym­ Our Lady's Minstrels phonic Band with Conductor Larry Harper & a Civic Music Assn Artist & Ensemble Series description of work, performance of Lord of the Rings; 8 pm; $6/ Early music ensemble; 2:30pm; free; Villa $4; Pabst Theatre, 144 E Wells; 278-3663 Terrace, 2220 N Terrace resume and SASE.

March 1 March 17 Kodo Drummers of Japan Civic Music Association Sunday Serenade 8pm; $20 & $24; Pabst Theater, 144 E Wells; Silver Flutes & Golden Harps 229-4308 1 pm; free; Mitchell Park Domes Linda Lesgold Fine Art Florist & Fruit March 1-3 2422 N. Cramer St. #25 The Roaring 20s with the Buffalo Shufflers Milwaukee, WI 53211 6246 N.Xprt Washington Rd) Milwaukee Symphony Pops 962~333tk- Fax 962~21j F,Sa 8pm, Su 7:30pm; $13-43; PAC: Uihlein Hall; 273-7206 January 19&26 March 1 & 3 Heroines Concord Chamber Orchestra Multi media performance induding fashion, Pasquale Laurino, Music Director sdupture & music; 8pm; $6/$4; Milwaukee Music of Mozart; with the Florentine Opera Fortress Building, 100AE Pleasant, Third Floor; Apprentice Program; $8/$5; F 8pm at Memo­ 278-1349 or 242-1952 rial Lutheran Church, 7701 N Green Bay; Su 3pm at St Paul's Episcopal Church, 904 E February 2 Knapp; 278-8572 Media Jar Opening Screening Performance March 2 8pm; Walker's Point Center For The Arts, 911 Yo-Yo Ma W. National; 672-2787 Artist Series at the Pabst; 8 pm; $15-45; Pabst Theatre, 144 E. Wells; 278-3663 February 15-March 30 Subtle Memories, Broken Promises March 3 Evelyn Terry & Patrick Turner; performance by Fine Arts Series Turner; Opening reception Jan 25; 7-10pm; Anita Berry, Mezzo-soprano Walker's Point Center For The Arts, 3:30 pm; $6/$5; Marian College, Fond du 911 W National; 672-2787 Lac; 923-7600 February 16-17 March 3 The Tiger is at the Door Milwaukee Concert Band Pat Murphy & Susan F Field Patricia Wellman, Conductor Bloomed 2:30pm; free; Washington Park Senior Center Kathy Hemingway Jones; 7pm; $6/$4; Walker's Point Center for the Arts, 911 W March 5 National; 672-2782 Music in the Museum Jeffrey Hollander, pianist February 17 In conjunction with Fashion & Furnishings in Ten-Minute-Max Talent Marathon the Age of Mozart; 5:30 pm; $10/$8; Mil­ Sing, dance, act, play instruments, tell jokes, waukee Art Museum; reservations 271 -9508 do bird calls, train animals, or ?, reserve your spot on stage by Feb 8; JM Kohler Art Center, March 5 608 New York; Sheboygan; 458-6144 CHEAP CLOTHES Milwaukee Civic Symphony Orchestra Edward Mumm, Conductor Emeritus March 3 All American music; 8 pm; $6-$7.50; Milwau­ Poison Gas Research From New York City kee Area Technical College: Cooley Audito­ Music/performance; Walker's Point Center WITH RICH TASTE rium, 1015 N 16th; 276-0615 For The Arts, 911 W National; 672-2787 STORE HOUR;: March 6 M-TH:U-6 UWM University Band John Bleuel, Conductor FRI :u-8 12:30pm; free; UWM: Union Concourse SAT SfO-f Now-February 3 | BUY-SELL-TRADE SUN =11-5 March 7 Fortitude in Tid-Bits m BUYING HOUR/ Christopher String Quartet Louis Johnson \ 2217 N.FARWELL AYE- 8pm; $4/$2; UWM: Fine Arts Recital Hall; Bits from Broadway shows, TV, movies & life; T-TH:1-4 229-430 Milwaukee Repertory Theater's Stackner Caba­ ret; W, Su 7:30pm Th,F 8pm Sa 5 & 9pm; March 7-9 $6.50 & $8; 108 E Wells; 224-9490 Milwaukee Symphony Orchestra Zdenek Macal, Conductor Now-February 24 Shura Cherkassy, Piano Inherit the Wind Th 11:30am F,Sa 8pm; $12-40; PAC: Uihlein Jerome Lawrence & Robert E Lee Hall; 273-7206 Milwaukee Repertory Theater Tu,W 7:30pm Th,F 8pm, Sa 5 & 9pm; Su 2 & March 8-10 7:30pm; $5-$20; Powerhouse Theater, 108 E Alexander and Radmila Radicevich's UWM Stringalong Folk Arts Weekend Wells; 224-9490 Classes & concerts at a lake resort, Camp Edwards in East Troy, WI; info 229-4177 January 18-20 The Accidental Death of An Anarchist March 9 Dario Fo Jim Stanley Friends Mime Theatre Improvisational Music; Walker's Point Center m Milwaukee Theatre Festival; F,Sa 8pm, Su For The Arts, 911 W National; 672-2787 2pm; $14-$ 16; PAC: Todd Wehr Theater; 273-7206 March 10 novo Established 1971 UWM University Band January 18-February 3 John Bleuel, Conductor Side by Side by Sondheim 7:30pm; $6/$3; UWM: Union Wisconsin Sunset Playhouse SERBIAN GOURMET HOUSE Room; 229-4308 Th,F 8pm, Sa 6 & 9pm, Su 7pm; $7.50; 800 Elm Grove Rd, Elm Grove; 782-4430 "A Delightful Experience" for lunch or dinner March 11 The Incredible Flute January 25-27 Mac Dowell Club of Milwaukee; 10:30am; Arsenic & Old Lace Selected Wines, Liquors, free; Milw Women's Club, 813 E Kilbourn Milwaukee Chamber Theatre and Homemade desserts. Milwaukee Theatre Festival; F,Sa 8pm, Su March 12 2pm; $14-$16; Pabst Theater, 144 E Wells; Strolling String Music. Christopher String Quartet 278-3663 12:30pm; free; UWM: Union Art Gallery March 12 Sounds of Glen Miller & the Big Band Era 522 W. Lincoln Ave. 414/672-0206 8pm; $12; UW-Parkside, Kenosha; info 414/ Bureks, Kajmak, Ajvar, Filo Dough to go. Credit cards accepted. 553-2278 35 January 29-February 10 February 13-March 17 February 20-March 3 March 7-23 Speed The Plow You're a Good Man, Charlie Brown Ghosts Haven for the Disillusioned David Mamet Acacia Theatre Company Henrik Ibsen Samuel Beckett The Northern Stage Company Th-Sa 8pm Su 3pm; $7-11; 3300 N Sherman; Marquette University; W-Sa 8pm, Su 2:30pm; Next Act Theatre Story about Hollywood's power games; pre­ 223-4996 $7/$6; Evan P 8i Marion Helfaer Theater, 525 Cabaret-style; poems & songs; Th,F 8pm, Sa view Jan 29, 8pm; $6; W-Sa 8pm (2:30pm N 13th; 224-7504 4:30 & 8:30, Su 2pm; Centennial Hall, 733 N Feb 10); $8 & $10; UWM: Fine Arts Theater; 8th; 278-7780 229-4308 February 22-23 & March 1-2 Waiting for Godot March 8-30 February 1-3 Samuel Beckett Living Fat The Boys Next Door 8pm; $12; UW-Parkside: Studio Theatre, Hansberry-Sands Theater Company Theatre Tesseract Kenosha; info 414/553-2278 Th-Su 8pm; $12; Lincoln Center for the Arts, Milwaukee Theatre Festival; F,Sa 8pm, Su 820 E Knapp; 272-PLAY 2pm; $14-$ 16; PAC: Todd Wehr Theater; February 22-March 10 273-7206 The Musical Comedy Murders of 1940 March 9-24 Sunset Playhouse In-The-Works February 1,2,8 & 9 Th,F 8pm, Sa 6 & 9pm, Su 7pm; $7.50; 800 Milwaukee Repertory Theater Ten Little Indians Elm Grove Rd, Elm Grove; 782-4430 2 new works-in-progress; talkbacks after each Agatha Christie performance; T,W 7:30pm, Sa 5 & 9pm, Su 2 Falls Patio Players February 27-March 10 & 7:30pm; $7-$ 12; Stiemke Theater, 108 E F,Sa 8pm; $5/$4; North Campus Auditorium, Man and Superman Wells; 224-9490 Garfield Dr at Appleton Ave in Menomonee George Bernard Shaw Falls; info 255-8372 UWM Professional Theatre Training Program March 12-15 Commentary on male/female points of view; Joycity—Endwords—The O'Neill Brothers do February 1-24 preview Feb 27 8pm; $6; W-Sa 8pm, Mar 10 Beckett & Joyce End Game 2:30pm; $8 &10; UWM: Fine Arts Theater; Irishfest Theatre; 7:30pm; $5 & $10; PAC: Act Without Words 229-4308 Vogel Hall; 273-7206 Samuel Beckett Boulevard Theatre Ensemble Arsenic & Old Lace March 4-6 March 14-24 2 black comedies using puppets; F-Su 8pm; Milwaukee Theatre Festival, Jan 25-27Th e Bathtub Gin Revue Tintypes $8; 2250 S Kinnickinnic; 672-6019 T A Productions JCC Theater Company; $7/$5; Jewish Com­ February 15-March 22 Noon; $24 (includes lunch) PAC: Bradley munity Center, 6255 N Santa Monica; info February 4 Dr Jekyll 8. Mr Hyde Pavilion/Vogel Hall; 273-7206 964-4444 Lend Me a Tenor First Stage Milwaukee Milwaukee Entertainment League M-F 10am & 12:30pm; PAC: Todd Wehr March 6-23 March 15 Touring cast of Broadway play; 7:30pm; $12- Theater; info 273-7206 Translations Theatre Grottesco 33; PAC: Uihlein Hall; 273-7206 Brian Friel Commedia aell'arte-style love story/comedy/ February 15-March 23 UWM Professional Theater Training Program drama; 8pm; $10; Alverno College, 3401 S February 4-6 My Emperor's New Clothes British soldiers attempt to anglicize an Irish 39th; 382-6044 Murder at the Matinee First Stage Milwaukee town; preview Mar 6 8pm; $6; W-Sa 8pm, Su T A Productions F 7:30pm, Sa 1 & 3pm, Su 1:30 & 3:30pm; 2:30pm; $8-10; UWM: Studio Theater; 229- March 15-24 Noon; $24 (includes lunch) PAC: Bradley $6-$8:50; PAC: Todd Wehr Theater; 273- 4308 Cole Pavilion/Vogel Hall; 273-7206 7206 Village Playhouse of Wauwatosa March 7 8pm; $5/$4; Plank Road School, 9508 W February 8-24 February 15-March 24 Rumors Watertown Plank; info 425-2076 Who's Afraid of Virginia Woolf? A Little Tomfoolery Neil Simon Edward Albee Tom Lehrer Milwaukee Entertainment League Milwaukee Chamber Theatre Milwaukee Repertory Theater's Stackner Caba­ Peter Marshall; 8:30pm; $12-33; PAC: Uihlein W-Sa 8pm, W 2pm, Su 2 & 7pm; Stiemke ret; W, Su 7:30pm Th,F 8pm Sa 5 & 9pm; Hall; 273-7206 Theater, 108 E Wells; info 276-8842 $6.50 & $8; 108 E Wells; 224-9490

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• •••••BUM wacm Juried Art Show Recetas Mexicanas NEA recipient interested in 5 osis Sept. 7 & 8, 1991 10 authentic Mexican recipes bartering photography, prints HYP* Artists interested in applying Make a complete meal! or services in exchange for request information from: Send $5.00 check or money order to: professional accounting and • Smoking • Weight Control W A . .U- • *. S A U Mex Meal 1A P.O. Box 07116 business services. •Self-confidence • Love Addiction Milwaukee, WI 53207 Call Jim • 288-6807 • Worry " Pa™ Control FESTIVAL • • • • • • • ••*••! • ••••••' • Anxiety • Study Skills Chairman i d e o CALL P.O. Box 1763 LaPinata Edie Raether, M.S., Psychotherapist Wausau, WI 54402-1763 WalKer's Point's newest restaurant RWWWUWJ 278-8959 Deadline April 1, 1991 (Former owner of El Condor) M-S10-9 SUN 2-9 VHS BETA NINTENDO TAX PREPARATION Mexican Cuisine FREE MEMBERSHIP New tax laws and changes in EXHIBITION OPPORTUNITY effect now! Get FAST, ACCURATE service. Open for dinners Rent as low as 76 cents Personal, self employed, itemized, Le Court Salons Jl done quickly, including homestead. Low cost. Mequon & Brookfield 807 S. 5th, Milwaukee AMBELANG TAX PREPARATION 933-1572 671-6686 ACE ¥ VIDEO 3490 N. Oakland Ave. PHOTOGRAPHY. High quality are looking for artwork Milwaukee, WI 53211 photographic renderings of artwork and in all media Phone: 332-2588 installations for galleries, artists and For more information collectors. All formats, reasonable rates. Call 241-5252 or YtYiVWWiVBH Call for information: 783-5252 Richard Gehrke, 414/562-3278. What's It Worth? Part-time educational coordinator for Experienced and Qualified Appraiser of classes for neighborhood children. Paintings, Furniture, Art Objects, and Collectibles from the 18th through the 20th Part-time administrative manager and FOOD & SPIRITS ART MUSCLE century for Insurance values and Sales Purposes. right hand for director/ curator. CLOSE COVER • STRIKE ON BACK Timothy Kuehn classifieds 1847 N. Prospect Ave. #7 Milw. WI 53202 Contact Walker's Point Center 1 block north of (414)278-1197 for the Arts, 672-2787 37th and National u p p I i interior design inch

Next issue: Walker's Point March 15 - May 15

Space for rent Deadline: February 20

CUSTOM FRAMING 1200-4000 sq.ft. AT AFFORDABLE PRICES gallery/loft/storefront 1668 N. Warren Ave. M-W-F 10-6 CALL • 672-8485 (Off Brady & Farwell) T-Th 12-7 Milwaukee, WI 53202 Sat 12-4 643 - 4533

36 Art Mu/cLe madiiso n A DIFFERENT WAR o

By Gregory Conniff signed to objects declared to be art come specificity that would render myth unten­ bilia culled from the contents of the bot­ right to the surface in this exhibition and able and rationalizations unspeakable.. tom drawer of her parent's bureau—all By the time this appears, people you contribute to a feeling of sickness that is that remains of her brother. She juxta­ know may have begun returning from part of the mark of its success. Some of Terry Allen, on the other hand, makes art poses snapshots of him at home and in Saudi Arabia in boxes. Some have re­ the work is simply horrifying and is per­ about Vietnam that you can speak about, Vietnam with excerpts from his letters turned this way already— lost to accident haps not great art. Some of the work is art that is self-conscious and assertive and commentary of her own. There is a rather than to bombs, bullets or poison high art, and horrifying because of the about the skill, intelligence and correct­ picture of him as a soldier asleep with his gas, but lost nevertheless, and lost in the gulf between its maker and the subject ness of its maker. Allen is an excellent teddy bear. There is the telegram an­ process of going to war. matter. The Civil War was the last Ameri­ artist, but there is a hip intellectuality nouncing his death. There is the conso­ can war at home, leaving us without the about his piece Boogie ChiUin that be- lation letter from President Nixon sitting George Bush says that Saudi Arabia is not atop a neat stack of similar stationery Vietnam. As far as I can see, the only dis­ which represents the thousand such let­ tinction he has drawn is that our soldiers ters Nixon supposedly signed each month. will be allowed to win this one. For him, There is a picture of newly-named Floyd I guess, losing is the only shame of our Road, of which her father is proud, but involvement in Southeast Asia. And for says wasn't worth it. And to take home him, I guess again, our loss of the war in with you is a flyer with a picture of James Vietnam (and Laos and Cambodia), using on the front and copy of the Record of everything short of atomic weaponry or Personal Property which accompanied germ warfare, was due to restraints placed her brother's effects and what was left of on our military. History has taught the his body when he came home in a box. president a lesson different from the one There is a perfect dry horror of inexpli­ I learned; but whatever the lesson, young cable loss in this work whose specificity people have begun again to die away is a blow to the heart. from home for reasons that are less than clear. Somewhere between Floyd and Allen is the work of Nancy Spero, ink and gouache At the Madison Art Center through Janu­ excerpts from her 1968 Bombs and Heli­ ary 27th (after our deadline for Saddam copters series. These pieces are done in Hussein) is a large traveling exhibition a calligraphic shorthand rage and look devoted to the war in Vietnam. When I almost as if she'd dipped her brushes in heard about this show early last summer blood. They are utterly unselfconscious, I couldn'tbelievethatthe ArtCenterwould but masterful. Their force remains undi­ select an exhibition with a subject this minished after more that two decades. dark for a time-slot usually governed by concern for crowds of holiday visitors. I've mentioned only these artists because Well, timing is everything. Right now on of limitations of space. There are 54 all horizons the human race is demon­ jgffiw artists in the show and there are strong strating its infinite capacity to indulge the arguments for including each, even if Keiko Bonk, Dad, 1986 worst parts of its nature. This exhibition there are reasons to argue over what they A Different War- Vietnam in Art, is ago­ recent memory of death on the doorstep comes embarrassing, at least in this instal­ produced. I have been to this exhibit five nizingly right for the moment. —and without a clear tradition for deal­ lation, by its proximity to Nancy Floyd's times and will likely go five times more ing with its meaning or meaninglessness. documentary elegy to her brother, who before it closes. It has been too painful in Organized by John Olbrantz and guest died a meaningless death in Vietnam its strongest places for me to even look at curator Lucy Lippard for the Whatcom War is death on a vast scale, but the when she was twelve. all of the 108 pieces during one visit. Museum of History and Art, Bellingham, experience of it is specific butchery, Washington, A Different War is divided specific loss and specific nightmare mem­ Allen's piece, the latest in a continuing This exhibition is about war, but it also into three parts — art made at the time of ory. Goya produced, in his eighty-plate series called Youth in Asia, is a medita­ questions the place of art and artists in a the war, art made by people who experi­ Los Desastros de la Guerra, a stomach- tion on American cultural derangement. society which sees itself as a marketplace enced the war and art made (in retro­ wrenching monument to the individual Etched in sheet lead is the ominous out­ more than a culture. Some of the work is spect) about the war. While some of the experience of the realities of war. He line of a house and superimposed on this clearly as much commodity as comment; artists are nonvictor Vietnamese, most of captioned one of his images "Yo lo vi" 0 are a Vietnam Service Medal and a child's other work is exorcism, some for the the highly varied viewpoints are Ameri­ saw this). Otto Dix could say the same chalkboard with a piranha-toothed artist's self and some for society, with the can — and many are personal, as befits a thing of the inhumanity running like a Dumbo flying upside-down. And then artist performing as priest; still other work nation forever trying to define itself around river of poison through Der Krieg, the letter-punched all around the work are is simply screaming. There is constant narrower and narrower visions of indi­ large suite of etchings which grew from the lyrics to the John Lee Hooker song anger, but its quality varies, as does its vidualism. his four years in the trenches during which gives the piece its tide. direction. There is no single aesthetic. World War I. Both of these artists had There is no single focus of blame. There The self-importance of Americans and known war and both of them had a goal Nancy Floyd's work, The James M. Floyd is no victory. There is no mercy. And it of stopping war by means of a graphic the characteristic self-importance as- Memorial, is an installation of memora- seems there is no end. c d L e N d d r

ART EXHIBITIONS artist's reception Jan 18 7-9pm; 2608 Monroe; DANCE Nadja Salerno-Sonnenberg; 8pm; $15-25; 608/233-4223 February 23 Elvehjem Museum of Art Madison Civic Center The Marriage of Figaro Now-January 20 Spaightwood Galleries January 31 NYC Opera Company; 8pm; $18-$32; Firth Art Faculty Exhibition Now-February 17 DanceBrazil February 27 February 2-March 24 Woman show V: 7:30pm; $8-14; Tchaikowsky: Russia's Maginficent Melodist Irish Decorative Arts from the National Mu­ Art by 20th Century Woman Artists February 17 Keyboard Conversation with Jeffrey Siegel; seum of Ireland Includes Jennifer Bartiett, Louise Bourgeois, Hubbard Street Dance Company 7:30pm; $16; 211 State 608/257-0158 February 9-March 31 Louisa Chase, Sandra Crile Helen Franken- 7:30pm; $10-16; Works on Paper by Sarah Schumann thaler, Sondra Freckelton, Nancy Graves, Anita March 9 POETRY 800 University, Madison; 608/263-2246 Jung, Kathe Kolhvitz & others; Ko-Thi Dance Company February 22-March 17 8pm; $9-15;211 State; 608/266-9055 January 25 Grace Chosy Gallery A Matter of Scale: Size in Prints The Poly City Poets February 1 -23 Works by Valeria Adami, Jim Bird, George LECTURES Performanc festival with Mary Shen Bamidge, Jean Crane, Recent Watercolors Cramer, John Himmelfarb, Joan Miro, Antoni Thax Douglas, Kurt Heintz, Susan Firer, Nick Opening reception Feb 1 6-8pm; papies, & others; January 27 Cipollone, Charlie & Gail Davis, Ron Ellis, Dale March 1-23 1150 Spaight Street; 608/255-3043 Juan Sanchez Ritterbusch, Lynne Shoemaker, Al Jewer, the William Weege, Recent Work The artist, whose work is included in A Different Cheap at any Price Poets & The Chamber Rock Opening reception Mar 1 6-8pm; 218 N Valperine Gallery War: Vietnam in Art, will speak on what it Ensemble; 7pm; The Cafe Carpe, 18 S Water Henry; 608/255-1211 Now-February 1 means to create artwork which contains a St West, Fort Atkinson Door County Prints by Robert L Pence political & social message; 1:30pm; free; Madison Art Center February 15-March 2 Madison Art Center, 211 State; 608/257- THEATER Now-January 27 Ellen Topleman, Floral Watercolors 0158 A DifferentWar: Vietnam in Art; indudes film/ March 8-25 Childrens Theater of Madison video screenings at 11 am, 1 pm & 3pm daily; Coming of Spring MUSIC February 15-March 3 Laurie Novak, color photographs Group show of gallery artists; 1719 Monroe; Anne of Green Gables February 9-April 7 608/256-4040 Madison Civic Center $9; Madison Civic Center, 211 State 608/ Phantom Cities January 26 257-0158 Rita Myers, Installation; also Women's Caucus for Art Madison Symphony Orchestra Young at Art, Works in all media by students Now-January 19 Marc Fin, oboe & Karen Beth Atz, harp; Madison Repertory Theatre from the Madison Metropolitan School District; The Tide Turns 8pm $11-19; Now-February 3 211 State; 608/257-0158 Performance night Jan 19 9pm; UW Memorial January 30 The Importance of Being Earnest Union: Main, Class of 1925 & Theater Galler­ Liszt: The Devil Made Me Do It Oscar Wilde Santa Fe Style Gallery ies; 800 Langdon Keyboard Conversation with Jeffrey Siegel; March 15-April 7 January 18-February 9 7:30pm; $16; Speed the Plow The New Tales February 14 David Mamet Recent narrative paintings by Francisco Mora; Madison Symphony Orchestra $12-50-15; 211 State; 608/266-9055 37 N /O chicago

By Michelle Grabner mified army was woman in the exhi­ Group Show: Portraits engaged four one of several pro­ bition, Emiko Chicago artists who are friends and col­ vocative pieces by Thkushige, contrib­ On "loan from the Soviet Union's Hermit­ leagues, each contributing portraits of Magdalena uted nine bundles the others in addition to a self portrait. age and Pushkin Museums were nine of fleshy palm fiber. Abakanowicz. In The result was an intimate peek into the paintings and 11 drawings representing Massive in scale, a piece titled Twins relationships between these artists. Linda The Romantic Vision of Caspar David these animate forms from 1989-90, she Lee's four free-standing sculptures ac­ Friedrich. At the Art Institute of Chicago engaged in whimsi­ presented the knowledged the language of formalism through January 6, this unprecedented cal dialogue with viewer with two with a bantered edge. Towering, these exhibition now travels to the Metropoli­ both viewer and small androgynous white human surrogates became ani­ tan Museum of Art in New York. Cele­ each other. Diverg­ figures. Seated on mated in their reflections of physical and brating the natural world, Friedrich's ing from Western an iron support, personal traits. Appropriating classical concepts of art pro­ these frail, head­ characters as a vehicle for portraiture «K-t duction, the pieces less and armless (e.g. satires, sphinx), the mosaic con­ forms speak si­ in Primal Spirits III celebrated encoun- structions by Lupus at first glance ap­ lently of timeless- peared strictly whimsical. Upon closer Lu us Portrait of Linda Lee (detail),r990 ter between spirit ness. Waxy in tex- P ' scrutiny, the viewer stumbled upon bits IWI lw;:.iiltr ture and monotonously brown, the fet- and nature. of iconography so personal that voyeur­ ttytw iiKriliiii:; ishistic figures elude identification and, ism was invoked. A large canvas by Ted like cocoon specimens from a natural Paintings and sculptures by Carl Stanuga titled Lupis Louise intriguingly history museum, become evidence of hu­ Johnson negotiated appearance and sub­ addressed Lupus' connection with Lou­ man transmutation. stance, spiritualism and the profane, ise Nevelson. A silhouette of Lupus' head Americana and Schna- surrounded by 17,000 ceramic bricks, 1,300 cedar logs, bel. During the month fragmented 400 pounds of wire, 700 gallons of water, of December at the architectonic copper, sulfur, steel, palm fibers, coal, Peter Miller Gallery, constructions tar, earth and fire were some of the media Johnson's most riveting attributed to chosen by ten Japanese artists participat­ works convincingly Nevelson sug­ ing in the ambitious exhibition titled A combined the painted gested privi­ Primal Spirit: Ten Contemporary image with found leged insight to Shigeo Toya, Woods, 1987 Japanese Sculptures exhibited at the objects. Keeping Stillis Lupus'past. Ex­ Museum of Contemporary Art through a rugged plywood landscapes are derived from specific sites: posing photo­ December 30. Employing the materials cross from which proj­ graphic images rock formations in central Germany, and forms of the physical world, the art­ ects a single white­ monastic ruins and the Baltic Sea. How­ of his subjects ists expanded the notion of the idiosyn­ washed moose ander. on panes of ever, the mastery of Friedrich's vision lies cratic art object into an expression and Wearing the guise of not in the literal depiction of the world glass and galva­ act of universality. Toshkatsu Endo's both sorcerer and nized metal, but in romantic and ephemeral expres­ monumental Lotus is a circle, twelve feet priest, Johnson con­ sions of isolation and salvation. His work Peter Rosen- in diameter, constructed of 16 pieces of jured spiritual alertness baum created is haunted by metaphors for life and death, charred and weathered wood. With pri­ and created objects forcing us to contemplate our transience. intimate reli­ mordial forms, Endo negates individual both mystical and curi­ quaries. His expression in favor of natural order and ous. Twenty life-size standing figures con­ iconic gestures universal reflection. An installation of 30 Carl Johnson, Untitled, 1990 challenged tra­ structed of burlap and glue guarded the standing wooden pillars by Shigeo Toya Portraiture was celebrated in a clever, Richard Gray Gallery duringthe month of ditional portrait photography and ex­ explored the dichotomies of growth and delicate and facetious display at the Lan- panded the mysticism of the individual. December. This decapitated and mum­ decay, expansion and erosion. The only non-Cole Gallery through January 5.

c d L e N d d r

ART EXHIBITIONS Gallery Ten Contemporary Printmakers from Mexico The Peace Museum January 18-February 22 Opening reception Mar 1 6:30-10pm; 1935 S January 18-March 30 ARC Gallery Regional Art Exhibition Halsted; 312/829-0485 Forced Out: The Agony of the Refugee in Our Now-January 26 Juried exhibition of work of artists from within Time Black Fusion, Group show of 23 african-ameri- 150 miles of Rockford; opening reception Jan Paper Press Photomurals & texts; 430 W Erie; 312/440- can artists; also 18 5-9pm; 514 E State, Rockford; 815/964- Now-January 26 1860 Nancy Ortenberg, photography; Katy Tho­ 1743 Shared Space: Group Show & Sale mas, works on paper; Kaiti Slater, installation; February 2-March 30 School of the Art Institute of Chicago Albin Wroblewski, outsider art; 1040 W Huron; Hokin Kaufman Gallery Better Homes & Goddesses Betty Rymer Gallery 312/733-2787 February 22-March 16 Lydia Ruyle,collagraphprints, images ofwomen January 18-February 20 Jonathan Bonner in ancient cultures; opening reception Feb 2 5- First Year Program Show; Columbus at Jackson; Art Institute of Chicago Weathervanes in copper & painted steel; 210 7pm; 1017 W Jackson; 312/226-6300 Gallery II Now-March 31 W Superior; 312/266-1211 January 25-February 22 The American Bed & its Coverings Perimeter Gallery International Students Exhibition Now-April 21 Klein Art Works Now-February 2 1040 W Huron; 312/443-7284 New Acquisitions: Modernist Photography Now-February 17 Carol Kreeger Davidson, Sculpture & Frances Now-June 23 Raye Bemis: Outdoor Installation Myers, Prints & Constructions State of Illinois Art Gallery Selections from the Permanent Collection of 400 N Morgan; 312/243-0400 February 8-March 2 Now-march 8 Asian Art Nathan Slate Joseph, painted metal construc­ Moholy-Nagy: A New Vision for Chicago Michigan at Adams; 312/443-3626 May Weber Museum of Cultural Arts tions; opening Feb 8 5-8pm; 750 N Orleans; 100 W Randolph, Suite 2-100; 312/814- February 21 -June 15 312/266-9473 5322 Catherine Edelman Gallery To Market, To Market: Trade Routes & Cultural February 8-March 9 Diffusion Peter Miller Gallery World Tattoo Gallery Double Focus: David Teplica, MD $1 admission; 299 E Ontario; 312/787-4477 Now-February 2 January 18-February 8 Works examining identical twins; The Last Decade of the Millenium Show of Forces March 15-April 20 Mexican Fine Arts Center - Museum Group show; 401 W Superior; 312/951- Peter Hurley; 1255 S Wabash; 312/939- Silent Dramas III: The Landscape January 31-March 17 0252 2222 Michael Kenna & Marilyn Bridges Francisco Mora 300 W Superior 1852 W 19th; 312/738-1503 Portals, Ltd PERFORMANCE ART Now-January 31 Chicago Historical Society Museum of Contemporary Art Hand-painted eggs & stones, wooden whistles, Randolph Street Gallery A House Divided: January 19- March 17 biscuit tins & antique children's ehairs; January 25 & 26 America in the Age of Lincoln Options 40: Cheri Samba February 15-April 1 Kaja Overstreet & Michael Zerang October 24-Continuing Paintings depicting daily life & problems in Myths & Visions Solo & collaborative performances; (the artists A City Comes of Age: Chicago in the 1890s Zaire, Africa; Lome Beug, sculptures & Martin Boyle, paint­ will also participate in workshops Feb 12-14 & Clark Street at North Avenue; 312/642-4600 January 19-March 24 ings; opening reception Feb 15 2-8pm; 230 W 19-21; Cuba-USA: The First Generation Huron; 312/642-1066 February 1 & 2 Ehlers Caudill Gallery Ltd 150 works by 48 Cuban-American artists; 237 La Vache Qui Rit Now-February 5 E Ontario; 312/280-5161 Randolph Street Gallery Gonnie Heggen & Frans Poelstra, Dutch per­ Giants Now-February 9 formance artists; all shows 8pm; $6/$4; 756 Sandra Newbury, painted photographs Nancy Lurie Gallery Profiles 1: Walter Andersons, Arturo herrera, N Milwaukee; 312/666-7737 750 N Orleans; 312/642-8611 Now-February 20 Carlos Melian & Libby Wadsworth, emerging Natura Reconstructio Chicago artists; 756 N Milwaukee; 312/66- POETRY Evanston Art Center Mark Van Wagner, paintings, reliefs & projec­ 7737 January 19-February 27 tions; 1632 N LaSalle; 312/377-2883 February 9 Paul Martin, Simon Grennan & Christopher Ratner Gallery La Palabra XII: Monterrey Mon Amor Sperandio, Installations 1935 Gallery Now-February 7 Book release/reading of Breathing Light by Lorraine Peltz, Paintings; opening receptionJan January 18-February 23 Michael Brangoccio, paintings Raul Nino 8pm; $5/$3; Randolph Street 18 7-9pm; 2603 Sheridan Rd; 312/475- Jacqueline Kazarian, Paintings; opening Jan February 8-March 19 Gallery, 756 N Milwaukee; 312/666-7737 5300 18 6:30- 10pm; Lisa Bradley, paintings; 750 N Orleans; 312/ March 1 -April 6 36 Art Mu/cLe 944-8884 AIRBRUSH WrtLK THIS V^Y BEGINNERS SAT FEB 16 OR SUN FEB 17 10:00 TO 5:00 185.00 210.00 AFTER FEB 9

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