APRIL/MAY 1993 Complimentary VOLUME 7 , ISSUE 4 fe.-. .' • •' -'l3| GSSEL 241 NORTH BROADWAY m. GlNG?* 2 MILWAUKEE, WI 53202 M *W± PHONE 414«289»0855 H ' •:'•••••' J P XE A Ml

mvil ** c *4W .BH^' ^B o O jMwW i 1 i GALLERY OF WISCONSIN ART LTD. iY MARK ANDERSON > • O w I ART FUTURE * i o 1 M Introducing a collection of art by o c LU L 6 The Rosenblatt Family 09 mW~~£*~ w? ^^ y? c a D .c "All 5 of Us: The Rosenblatts" O Sculpture, acrylics, oils, watercolors, and videos. D .0 *p ^ V tij.' far w j* April 16-May 9 gw -• •j&wSaWI &0 m- Opening reception to meet the artists 5 p.m. to 9 p.m. on Friday, April 16 (Gallery Night) OLUTION Poetry reading by Suzanne and Sarah SHAPES OF COLOR II on Saturday, April24,3 to 5 p.m. A colorful, whimsical spring exhibition COCO WITH MASK, 1990 Featuring: Photograph by Len Price ©1990 Lynne Loshbaugh (painting), Farraday Sredl (clay), 931 East Ogden Avenue, RISING TO THE OCCASION James Van Deurzen (glass), Louise Hopson (clay), Sally at the corner of Ogden and Astor Duback (paper), Carol Pelton (painting), Heinz (414) 278-8088 HA|AEARAOAG^L^YAPAHAS Brummel (jewelry). Arline Fisch (jewelry), and Claire Natalie Soref, proprietor JOSEPH HANREDDY Sanford (jewelry). A Pre-Columbian Mayan rubbings ± Museum Graphics/Smithsonian notecards Gallery hours ± African/Amerindian earrings ± Guatemalan/Indonesian ikat accessories April 16 through June 5,1993 Monday-Saturday 10:00 to 5:00 * Ivory Coast/Senegalese print slacks * Cenozoic/Mesozoic/Paleozoic fossils * African/Chinese/E. Indian beads * East/West African masks/statues Gallery Hours: Mon-Sat 10:00-5:00 / Sun 11:00-3:00

1800 N. Farwell Avenue A Milwaukee, WI A (414) 272-ANKH SEE US AT THE CHICAGO INTERNATIONAL ART EXPOSITION .rp m P MCCORMICK PLACE • MAY 6-ioth, 1993 E. N II frid ay, Present apr 23, 1 9 93 s 0, 8:00 p m POST FACTO 0US API shank hall JVI I LW rE RT O E.Y THEATER 143 4 north UyOH II MADISON CALENDARS tickets: EAS0N $7.50- CHICAGO with Present Music — $10.50 The Milwaukee Repertory Theater present; an electrifying season of high. /oltage theater which will thrill our audi­ for tickets call: ••KEVIN ST DIRECTOR* (4*4) 271 0711 LETTER FROM THE EDITOR ences with its sheer artistry, its ideas, its^motions. Under the direj don of the Rep's new Artistic Director, Joseph Hanreddy, we will be presenting the very best the the classic JPand contemporary theater has to offer. Our 1993/94 I Present Music "Yesterday, all my troubles seemed so far away." -Paul McCartney Stiemke Theater 5 or 3-Play Series will include T ftE BALj>f[ORT E WALTZ, a funny, touching portrait in which humor is So there was this article in the New York Timessaying that the people at MTV were basically happy that Bill Clinton is president. Except, they said, he's kind of a dweeb; i^asonlilelr Parte his favorite Beatle is Paul. J S;FB DM THE MISSISSIPPI DELTA, a stirring autobiography of one used to mask the pain of losing a loved one to 40 To which an artist friend of mine replied in a somewhat defensive critique of our previous president, at least Bill Clinton has a favorite Beatle. And even if Bill Clinton woman's struggle to rise above poverty, pro^Kon and racism; and THE NORMAN CONQUESTS, a trilogy of out­ p rem I e r e jr*W°y : hasn't chosen a new National Endowment for the Arts head yet, anything has got to be better than what George Bush did. Well, doesn't it? Michael Torke / Kamran Ince landish comedies which occur during a sirtp weekend, in different parts of the same house and concern the same group Anyway, amidst this collective sigh of artistic relief, I am reading all about the Whitney Biennial—which, as it turns out, is a sort of belated, reductive anti- of people. A 5-play subscription includes all three of THE NORMAN CONQUESTS, a 3-playj SRl-lfcy.---may 2iti—!l|.i| monument to George Bush. It has got me to wondering: now that George's gone, 1993-94 40TH can artists find new, richer political territory to mine? Now that the 12 long years ANNIVERSARY arc over, now what? milmaukee art museum (lake entrance! includes only one. You SAVE when you SUBSCRIBE! For a free brochure call: 224-9490. CELEBRATION galleries open at 6:50pm EmU $7.50 —— $15.50 1 UUf-271-0711 On the cover: 'Sister Cook', photograph by Francis Ford. Costume design by Linda Khnpel. JUDITH WOODBURN editor

THERESE GANTZ «l associate editor Common The Michael and Julie Hall Collection of FRANCIS FORD Ground/ American photo/shoe editor Uncommon THOMAS FORD Vision Folk Art art director CHRIS BLEILER design

April 16 -June 20 ANGEL FRENCH advertising <& circulation director

GEORGE MELCHIOR LINDA SAWYER sales & circulation

BOBBY DUPAH associate editor emeritus

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FRIENDS OF ART MUSCLE Perry & Bobbie Dinkin Ellen Checota Barbara & Jack Recht Barbara Kohl-Spiro Jim Newhouse Thelma & Sheldon Friedman Peter Goldberg Mary & Mark Timpany Theo Kitsch Dr. Clarence E. Kusik Gerald Pelrine Tina Peterman Jay Brown Babcock Mechanical Christine Prevetti Katie Minahan Richard & Marilyn Radke Richard Cler Dennis Hajewsky Patti Davis Harvey & Lynn Goldstein Robert A. Holzhauer Robert Johnston Judith Kuhn Polly & Giles Daeger Joel & Mary Pfeiffer Gary T. Black Nicholas Topping Dorothy Brehmer C. Garrett Morriss Karen Johnson Boyd Tim Holte/Debra Vest Roger Hyman William James Taylor Jack & Ellen Weller Dean Weller Arthur & Flora Cohen Remy Sandra Buder David & Madeleine Lubar Jimmy G. Scharnek Sidney & Elaine Friedman Mike & Joyce Winter Carolyn & Leon Travanti Mary Joe Donovan James B. Chase Milwaukee is now home to one of the nation's Jerome J. Luy Cynthia Kahn premier collections of paintings, weathervanes, Nate Holman Chris Baugniet Patrick Farrell Riveredge Galleries whirligigs, carvings and lodge hall paraphernalia Albert & Ann Deshur Bob Brue Pam Jacobs Jewelry Burt & Enid Dinkin embodying the tradition and individual Ginny & Gerry Robbins Ello & Guido Brink creativity of our enduring cultural diversity. Taglin Enterprises/Access Milw James & Marie Seder Harry W. Schwartz Bookshops Randi & John Clark Robert E. Klavetter Keith M. Collis Linda Richman Jewelry Mary Paul Information: 414.224.3200. Richard Warzynski Joan Krause Janet Treacy Morton & Joyce Phillips Monica Cannon Haskell Delphine & John Cannon Jim & Julie Ansfield Daniel S. Weinberg Sharon L. Winder! Mary Streich This exhibition is sponsored by the Dori & Sam Chortek Carole & Adam Glass Lila Wallace-Reader's Digest Fund. Janet & Marvin Fishman Diane & David Buck Additional funding provided by the Steve & Amy Palec Christopher Ahmuty National Endowment for the Arts. Kathy & Neal Pollack Julie & Richard Staniszewski Blue Dolphin Gallery Jamie Ross Brookfield East H.S. Arts Club Toby & Sam Recht Thomas A. Fulrath Kathryn M. Finerty Konrad Baumeister L'Atelier, Inc. Narada Productions, Inc. Wolfgang & Mary Schmidt Margaret Rozga Cardi Toellner Hannah C. Dugan Nancy Evans Jordan R. Sensibar MIIWATTKEE ART To become a FRIEND OF ART MUSCLE, send a check for $50 which entitles you to receive Art Muscle for MUS two years and gets your name on the masthead!

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Subscription rates in continental U.S.:$12 one year; elsewhere, $16 one year. AHTAMUSC&EH Aletha Jones: Ceremonies and Odysseys April 16-May 8 DeLind Fine Art 801 N. Jefferson St., Milwaukee, WI 414-27,1-8525

"A Balancing Odyssey" © 1 993; Watercolor 30" x 40"

FREE $10 value... bring in this ad and receive a FREE museum collector's poster with the purchase of two adult admissions... not valid with any other otter... through July 31,1993. a a ¥EHHS a JF m i HELITIBV Davici [sari. w MsiftlL

MY 22 THROUGH MMMMRlMU i 5EPTEIIIBER12.1003 i Go HOG wild! Mey-Mdson cycles from the early June 5 through IDs to the present roll into KIM this summer. August 1,1993 Hon t miss the pop culture hikes including Elvis i iiv raditional and visionary Presley s straight in from Gracelanl folk art from native artists of the Appalachian region. MY 10 Powerful. Thoughtful. Colorful. ELVIS LIVES! An evening of music dance and June 11,12 & 13 Elvis look-alikes!

w Milwaukee Public Wolk Art Fair featuring hand-made folk art for MUSEUM sale by Midwest artists! Milwaukee Public Museum Special Exhibits Gallery Daily 9 am • 5 pm 414-278-2700 OPPORTUNITIES

VISUAL ARTS Artwork sought for new Madison gallery. All FKCAC, 1099 Main St., Dexter, MI 48130.313- Old Toll Road Village and League of Milwaukee Frasquita would like you to know that she did not media and styles; emerging, mid-career and estab­ 426-0236. celebrate St. Patrick's day in the usual way, didn't wear Milwaukeean Evelyn Artists seek fine artists for 2nd annual outdoor Art lished artists welcome. Deadline: April 30. Send green or do any of the other unseemly things that seem Patricia Terry and Elizabeth Show at East Towne Square Mall in Mequon, June CULTURAL DIALOGUE CONFERENCE resume, slides or prints with SASE to John Caputo, Artists in all media sought for 30th Annual LCA to have become associated with this holiday (much, Was of La Farge, WI, have 19. To apply, contact Stan Piepenburg, 532 N. Caputo House Gallery, 109 State St., Madison, Summerfest June 26-17. Attendance: 15,000. Fees: she suspects, to the chagrin of St Patrick himself, the DEBUTS HERE APRIL 16 been awarded $8,000 60th St., Wauwatosa, WI 53213 or call 414-771- WI 53703. 608-257-6060. $10/5 slides; $100 booth. Deadline: May 25. dear soul). No, instead, she could be seen at Pedrano's each by the 1993 7711. Deadline: April 23. Arts Midwest will present its premier Cultural Dialogue Conference Send legal-size SASE. Elaine Leska Promotions, on south Sixth, sipping her new favorite margarita, Intermedia Arts/McKnight April 16-18 at the Marc Plaza Hotel. The conference will bring Art Independent Gallery seeks clay work for ce­ 517N. Wood St.,Chicago,IL 60622-6056. 312- crystals of salt dusting her freshly rouged lip like a light Interdisciplinary Fellow- Artists sought for Elsewhere Art Fair, June 5 and 6 r together artists and cultural workers from African American Asian ramic vessel show in celebration of the Year of the 829-4544. spring snowfall, speculating about the nature of the shipsin recognition of their on Milwaukee's lakefront.Non-juried; registration American, Latino and Native American communities to celebrate the Craft. Open to artists working in 100-mile radius munificence that suffuses her every time she drinks one workininterdisciplinaryart fee: $50 per booth. To register, contact ESHAC, Midwest's diversity. The event includes seminars and workshops of Lake Geneva. Deadline: April 20. Jury fee: $15/ Chicago's New East Side Association seeks artists of these things. Nectar, she is certain, of the gods. forms. 531 E. Burleigh St., Milwaukee, WI 53212. 414- exploring advocacy, funding for cultural organizations, the impact of 3 pieces. Cash awards. Juror: Eric Jensen, Iill for fourth annual juried ArtWorks Festival. All Recalling such a beatific state, it is hard for herto work 372-2473 or 263-8451. Proceeds benefit ESHAC Street Studios. For prospectus, send SASE to Art media. Fee: $10. Booth fee: $195-$255. Prizes; up the goods on anyone, but she is a woman with a the arts and artists in society and other current issues. Keynote In support of the Milwau­ and Holton Youth Center. Deadline: May 17. Independent Gallery, 623 Main St., Lake Geneva, $1,000 purchase award; $1,000 prize. Deadline: finely honed sense of duty, so off we go: tt seems the speakers are A.B. Spcllman, acting deputy chair for programs at the kee Repertory Theater's National Endowment for the Arts, Washington, D.C., and Sherry WI 53147, or call 414-248-3612. April 30. Send slides, SASE to: New East Side move of the Dean Jensen gallery to new, sunnier Community Services Pro­ The AIDS Resource Center of Wisconsin, Inc. quarters on Broadway in the Third Ward has prompted Salway Black, vice president, First Nations Development Institute, ArtWorks, P.O. Box 1338, Highland Park, IL t gram, Miller Brewery has seeks volunteers to work on the steering committee a gallery chain reaction. Silver Paper Gallery, formerly Falmouth, VA. Registration is $65. For information or to register, call Artists sought for Watertown 29th Annual Out­ 60035. given $10,000 for the for 1994 Art for AIDS Auction. Interested indi­ door Arts Festival, July 25. Original fine art or in the Riverwest neighborhood, is moving to take 612-341-0755. Rep's local efforts in bring­ viduals as well as artists willing to donate artwork prints of artist's original work; no crafts or kits. Arts Midwest seeks applications for fellowships in Jensen's newly vacated space. And, in the hole left by ing theater projects to the for this even may call Louise Searing, 273-1991 or Fee: $10, non-refundable. Deadline: June 1. Pur­ crafts, sculpture and photography from Arts Mid- Silver Paper at 825 E. Center, the Riverwest Artists community. At various lo­ Nancy Crawford, 778-0550. chase awards: $10,000. For prospectus contact: west/NEA Visual Artists Fund. Deadline: May 21. Association is opening a new gallery of its own... As for SKYLIGHT TOURS IN EASTERN EUROPE cal sites, Rep actors and BemieThiele, Watertown Arts Council, P.O. Box To request application, call 612-341-0901 or send other galleries, word is that Metropolitan Gallery is on directors offer workshops Artwork in all mediums utilizing the color blue 204, Watertown, WI 53094.414-261-0346. postcard with name, address and word "Visual its way back. Watch for notice of an open house in their s AND JORDAN on creative dramatics, im­ sought for "True Blues" juried exhibit October Artists Fund" clearly printed on it to: Arts Mid­ new raw space in Walker's Point... What ex-convict provisation, stage make­ 17-November 14 at Uihlein Peters Gallery. For West Bend Gallery of Fine Arts seeks individuals west, 528 Hennepin Ave., Suite 310, Minneapo­ could Haggerty Museum director Curtis Carter be seen The Skylight Opera Theatre is taking its Broadway Cabaret on the road in up, vocal training and information, call Carol Harding, 414-291-4993. with studio art background and teaching experi­ lis, MN 55403. escorting around the opening of his new "Dolls" show Turkey, Jordan, Cypress, Greece, Romania and Bulgaria April 18-May 23. The storytelling. Deadline: June 18. recently? Word is this ex-convict is shopping her art­ ence with all ages for Adult Studios and the tour is organized by the United States Information Agency's Arts work around at various chic Milwaukee venues, and Children's Art Tutorial Experiences program for Bastille Days Festival seeks original design for America program. Fine artists and craftspeople sought for Historic that some of these venues may take her up on it Buena The Skylight Opera The­ fall-winter 1993-94. Send letter of intent and vita 1993 "Storm the Bastille" T-shirt. Official colors Third Ward's "Best Art Fair" July 31. Send three suerte, dearie!... Truth squad: Contrary to a gossip atre has been awarded a to Cheryl Stidweli Parker, Assistant Director, West are red, white and blue, but other colors may be color photos or slides. Deadline: June 15. For item in a certain downtown weekly, restaurateur David $115,000 Challenge Grant Bend Gallery of Fine Arts, 300 S. 6th Ave., West used. Design should incorporate the name "Storm application, call or write June Lehman, Historic Boxer (of Coffee Trader and Central Gill fame) is not NEW STUDENT GALLERY IN MADISON from the National Endow- Bend, WI 53095. the Bastille" plus "Milwaukee" and "1993." Prize: Third Ward Association, 219 N. Milwaukee St., getting married. This Frasquita has straight from the mentfor the Arts. The Sky­ $200. Deadline: May 1. Send up to three entries Students, whose opportunities to show and sell their works are usually limited, Milwaukee, WI 53202. 414-332-9299. mouth of the alleged bride.... Tina Brown's been good light is one of only two Exhibition opportunities available at Artemisia with SASE to: Storm the Bastille T-shirt Contest, have a new ally in Madison—The Works, Ltd., a student-run gallery at 23 N. opera companies nation­ for at least one Milwaukee-area artist; painter Tom Gallery, non-profit cooperative. Members jury Festival Events, Inc., 316 N. Milwaukee St., Mil­ Uttech's work recently showed up in the "Goings on Pinckney St., Madison. The gallery was created by undergraduate students at wide to be awarded the Riverwest Artists Association seeks artists for new slides monthly for solo and group shows. Send 10 waukee, WI 53202. For information: 414-223- the University ofWisconsin-Madison. Juries will be held monthly to determine coveted Challenge Grant. gallery, 825 E. Center St. Available: 600 square About Town" section of the NewYorker. (He had a half- slides, vita and SASE to: Artemisia Gallery, Search 7500. page ad, courtesy of NYC gallery Schmidt Bingham, in the content of upcoming shows. feet of revolving exhibition space and areas for Committee, 700 N. Carpenter St., Chicago, IL The Milwaukee Founda­ consignment sales. Deadline for proposals: April Artin America, too)... Here's a tale of art theft, forgery 60622. LITERARY and institutional intrigue... a high school student who tion approved $7.6 mil­ 15. Send to Gallery Committee, Riverwest Artists Arts and Humanities Council of Tulsa invites lion in grants in 1992. Association, 804 E. Burleigh St., Milwaukee WI, attends drawing classes at MIAD is said to have stolen Artists sought for Northern National Art compe­ entries for Nimrod/Hardman literary Awards for seven drawings by senior drawing major Chad Hensel. HIRSCH FARM PROGRAM SETS Awards to local art groups 53212. tition. 2-dimensional only. $4,500 in awards; Fiction and Poetry. Fee: $10. Awards: $1,000 and included the following: Slightly altered (with signatures, of course, removed) 1993 PROGRAM $1,000 best of show. Send SASE to Nicolet Col­ $500 each genre. For rules, send SASE to: Nimrod they ultimately showed up as entries in the Scholastic The National Children's Riverwest Artists Association seeks gallery admin­ lege Art Department, Rhinelander, WI 54501. Contest Information, 2210 S. Main St., Tulsa, OK The Hirsch Farm Project, an ongoing discussion of "noteworthy proposals for Museum for the Perform­ istrator to operate new gallery and provide admin­ Art Competition held at the Milwaukee Art Museum Deadline: June 1. 74114. recently. To add insult to injury, the judges, two of projects concerned with public art, the environments and community," based ing Arts received a start- istrative services for the organization. Write or call: whom happened to be MIAD employees, did not on the Judith and Howard Hirsch farm in southwestern Wisconsin, has upfunding of $15,000. For Riverwest Artists Association, 804 E. Burleigh St., Convergence VI, festival of art, dance, theater and DANCE the first quarter of 1993, notice the purloined drawings, and voted to give the announced its theme for its 1993 program. It will be "NonSpectacle and the Milwaukee, WI 53212.414-374-4722. music July 11 -September 12 in Providence, Rhode Wild Space Dance Company seeks dancers to the foundation approved thief a monetary award and a scholarship to—of all Limitations of Popular Opinion." The program, to run July 5 to 12, will explore Island, seeks proposals for temporary site-specific perform on a project-to-project basis for 1993-94 places—MIAD. The whole sordid affair came to light approximately $470,000 Artists sought for 17th annual Mile of Art Show at issues related to the measurement of success and failure, and how individual sculpture, performance art, dance, theater, music. season. Orientation and company training begin when a friend of Chad's saw the drawings (one of them in grants. Arts- and cul­ Cardinal Stritch College, August 22. Deadline: accomplishment is valued. Participants had not been announced at press time. ture-related grants in­ Send proposal, resume, budget, list of materials, summer 1993. All performances are paid. Send happened to be a self-portrait) at the Art Museum and April 15. Send requests for applications to: Mile of sample of previous work SASE to Bob Rizzo, resume and letter indicating interests and qualifi­ blew the whistle. The scholarship was revoked, and clude: DanceCircus was Art, Box 100,6801 N.Yates Road, Milwaukee, WI awarded $10,000 toward Director of Public Programming, Roger Williams cations to Wild Space Dance Co., P.O. Box 93754, Chad got his drawings back. But he's become miffed 53217. Park,Providence,RI02905.401-785-9450.Dead- Milwaukee, WI 53203. For information, contact by what he sees as M IAD's reluctance to deal with the PERSONNEL NEWS organizational develop­ ment; Artreach Milwaukee line April 15. Artistic Director Debra Loewen, 414-271-0303. larger issue—which is how to protect students' work, Artists sought for '93 season. Send SASE for pro­ and how to compensate them when Cheryl Robertson has been named Curator ofDecorative Arts at the Milwaukee received of $7,500 to im­ spectus to: An Art Place, 847 W. Jackson, 10th Art Museum. She comes to the museum from New York, where she worked as prove accessibility for the Artists in all media sought for Wausau Festival of THEATER. they can't.... Milwaukee Floor, Chicago, EL 60607. poets Susan Firer and an independent museum consultant and lecturer. Previously she had been disabled for seminars, Arts September 11-12. Prizes: $6,000 cash; Auditions for The ThreeP^rwill be held 6:30-8:30 $16,000 in purchase pledges. For application: p.m. April 5-6 at Milwaukee Youth Theatre, Inc, Sandra Nelson both employed by the Winterthur Program in Early American Culture, where she training programs and in­ Proposals sought for sculpture garden. Contact: Wausau Festival of Arts, Kathleen Grant, Presi­ 2479 S. Kinnickinnic Ave., Milwaukee. Four boys, have had poems served as assistant professor, and the American Arts Course, Sotheby's Educa­ terpretation services; Director, Bellingham Parks 8c Rec. Dept., 3424 Channel 10/36 Friends re­ dent, P.O. Box 1763, Wausau, WI 54402-1763. 6 girls needed; open to youths ages 6 to 18. in Ms. maga- «j tional Studies, New York, where she served as assistant director. Meridian St., Bellingham, WA 98225. 206-676- 715-842-1676. Interested performers should have two contrast­ zine... Alfin, a ceived $8,000 to introduce 6985. dance to area schools in ing monologues preparedno longer than 1 minute fond farewell Yvette Nieves-Cruz has been named executive director of Film in the Cities, a conjunction with a PBS Artwork in any medium sought for Beyond "Body": each. To schedule an audition, call 769-6226. to artist Peter Artists sought for 93-94 season. Send slides, re­ nationally recognized non-profit media arts center based in Minneapolis which special entitled "Dancing"; Animate and Inanimate. Fee: $15/3 entries; $5 Dean, former sume, SASE to: Penny Miller Triangle Gallery of fosters the creation and appreciation of film, video, photography and audio. Ms. the Historical Keyboard each additional entry; no limit. Deadline: June 1. GENERAL Wisconsinite Old Town, 1763 N. Park, Chicago, IL 60614. Nieves-Cruz's most recent position was as director of the San Antonio Society of Wisconsin has Send numbered slides in slide page; checklist in­ Jazz or contemporary musicians, stand-up come­ whose rivet­ 312-337-1938. CineFcstival. been awarded $7,500 for cluding name, address, phone number, title, date, dians and performance artists sought for Cafe ing narrative- organizational develop­ dimensions; fee and SASE. For prospectus, send Phyllis, 734 S. 5th St, to open end of April. style paintings Pyxis Gallery seeks exhibition proposals for 1993- won him great Taras Kalba has been named Director of the Milwaukee Ballet School. He has ment; the International SASE to 494 Gallery, 494 Broadway, New York, Auditions by appointment. CallDenise: 647-8089. 94 season. Send 8-10 slides, resume and SASE to NY 10012. critical acclaim in served as acting director of the school since May, when former director Fine Arts Institute received Pyxis Gallery, 2086 Atwood Ave., Madison, WI Arts Midwest seeks applications from culturally- the New York art Kathcrine Kerstcn accepted a position in Vail, Colorado. Kalba joined the $15,000 for the Interna­ tional Tchaikovsky Com­ 53704. 608-249-0554. Wisconsin Alliance of Artists and Craftspeople grounded or community-based groups for Cul­ world and much company as a soloist in 1987. Previously, he held soloist positions with the petition to be held in 1993; seeks Wisconsin artists and craftspeople for 14th tural Development Fund grants. Deadline: April adoration locally. Garden State Ballet, Koblenz Stadttheatcr, Munich Staatsoper and the New the Milwaukee Ballet Com­ Original artwork and handcrafts sought for Arc Annual Art Fair Off the Square July 10-11. Invita­ 30. For guidelines and application, write Arts (His work was seen York City Opera. pany has been awarded East Frame and Supply, 828 E. Locust St., Milwau­ tional and juried. Jury fee: $5. Entry fee: $90. If Midwest, 528 Hennepin Ave., Suite 310, Minne­ in a fine exhibit at $12,000; the UWM Foun­ kee, WI. Call for appointment. 374-9494. accepted to exhibit, $15 annual membership fee apolis, MN, 55403. 612-341-0755. the UWM Art Mu­ Jeff Christofferson has been elected chairman of the Milwaukee Ballet Board to dation-School of Architec­ also required. For application: WAAC, P.O. Box seum lastspring.) complete the term of outgoing chairman Frederick Cullen, who moved to ture and Urban Planning Artists sought for Ninth Annual Port Clinton Art 318, Windsor, WI 53598-0318. 608-846-3998. Listings from individual composers and writers Mr. Dean died Festival August 28-29, Highland Park, IL. Open 1 last month of Columbus, Ohio. Christofferson is the founder and president of Tramont received $20,000 for the accepted through April 9 for Applause ., a publica­ to: 3-D functional, all media; works on paper; Lou Gehrig's , Corporation. establishment of an Inner Farrington Keith Creative Arts Center, Dexter, tion designed to connect touring artists with pre­ City studio, and Very Spe­ jewelry; painting; photography; 3-D non-func­ Michigan, seeks artists for 6th National Juried senters. For information call or write Arts Mid­ disease, and cial Arts Wisconsin re­ tional. Fee: $15/four slides. Display fee: $225- many here Margaret Hawkins will receive the String Academy of Wiconsin's 1993 Per­ Exhibition. All media. Fee: $10 per entry; $5 each west, 528 Hennepin Ave., Suite 310, Min- ceived $5,000 for an arts 275. Send application to Port Clinton Art Festival, additional. Juror: Russell Forrest Etter. Awards: ne^ofe, MN 55403.612 3410755. TDD: 612 3410901. mourn his forming Arts Leadership Award during the annual String Academy Scholarship program to help prepare P.O. Box 1338, Highland Park, IL 60035. For $1,000. Deadline: April 30. For application: passing. gossm Benefit Concert, at 5:50 pjn. May 18 in the University of Wisconsin- at-risk children for school. information: 708 433 7994. Slide deadline: April 20. Milwaukee Fine Arts Recital Hall. Tickets may be reserved by calling 229-6121. CM rJK Milwaukee Repertory Theater Presents The Tall And The Short Of It

starring and written by Will dinger and Jim FitzGerald April 23-May 23 The spirit of small-town American vaudeville and British music halls is celebrated in this madcap musical, comedy revue.

They dance a lick, sing a bit, tell jokes and generally frolic with the intent to disable an audience with the audacity of it all." -Chicago Sun-Times Their comic patter and shoulder-to-shoulder routines suggest any number of venerable duos, from Harrigan and Hart right up to Lewis and Martin." -Chicago Tribune Tickets: $7.50 & $10.00

Stackner Cabaret -108 E. Weils St 224-9490

FACING THE BLANK PAGE B 7:30pm Wed., 4/7 ARTS' PLACE BRESLER EITEL They feel compelled to write, every day. Jane Hamilton and Picture ^framing Professionals Since 1881 Martha Berg land juggle life s demands to be FRAMING • RESTORATION • CONSERVATION successful authors. OVER 1500 FRAME STYLES IN STOCK Repeats 10:30pm Thursday, April 8

ON BECOMING AN ARTIST

7:30pm Wed., 4/14

ARTS' PLACE A young sculptor, Scott Long, begins his OLD MASTERS TO NEW AGE professional career with advice from CUSTOM FRAMING • MUSEUM-ARCHIVAL FRAMING pa in ter/sculp tor Guido Brink, who cele­ INTERIOR CONSULTATIONS FOR HOME, BUSINESS, & OFFICE brated a 50-year retro­ spective of his work. FRAMING DESIGN EXPERTISE • PLEXI BOXES Repeats 10:30pm 22K GOLD LEAF MOULDING • PICTURE HANGING / INSTALLATION Thursday, April 15 GRAPHICS • PRINTS • POSTERS

5 Blocks North of the Bradley Center Bresler-Eitel Framing Gallery You Make It Happen 525 West Walnut Street WMVS Milwaukee Public & Educational Television Milwaukee, WI 53212 • 374-7777 Milwaukee

P AT? T left Be

I read with interest Dave Luhrssen's review of Andy Warhol: Works from the Friends Permanent Collection at the Milwau­ kee Art Museum (Art Muscle, Febru­ ary/March 1993) and was perplexed by his critique of the exhibition as a "current retrospective/' lacking in The new Art Muscle depth and particular examples of Warhol's early work." The exhibition, coffee mug series features as its title indicates, is intended to allow museum audiences an opportu­ some great original art nity to see works from the collection, many of which are rarely on view. The by some great Wisconsin serigraphs of Marilyn, Mao and artists—this year, its Campbell's Soup, sensitive to light, are kept in the Museum's print study Hermetic Dreamer by Columbia Hospital Performing Arts Medicine Program. room, inaccessible to the public ex­ Whether professional or amateur, our multi-disciplinary program cept by special request of individual Marvin Hill. We know is designed to identify, treat and research performance-related visitors on Thursday afternoons, or by acute and chronic medical problems. appointment. Presenting these port­ your javas just going to Rheumatology Rehabilitation Orthopaedic and folios to the public in conjunction Sports Medicine Nutrition Hand Surgery with additional prints, paintings and look great in it. Neurology Performing Arts Alexander sculpture does not imply an attempt Massage Psychiatry Technique to survey the artist's entire career. That has already been done, admira­ 961 -6881 bly, by the Museum of Modern Art in 1989. We are pleased, however to Columbia Musculoskeletal Institute-Glendale share our Warhol holdings with the 575 West Deluxe Parkway (1-43 & Hampton) community in the context of the Mil­ Glendale, Wisconsin 53212 waukee Art Museum's diverse chang­ ing exhibition program.

Sue Taylor Curator of Prints and Drawings Inciter COutstc SocteCy Milwaukee Art Museum presents There's only one way A Mendolin Concert by I'm writing in response to the review to get a mug like this, MASTER U. SHRINIVAS by Megan Powell of My Children, My Africa (Art Muscle, February/March and that's to become a 1993). Her remark about Athol Fugard's message having lost its ur­ friend of Art Muscle. gency is totally misguided. Apartheid is going strong and will be for many For $50 you get the mug,. years unless we as human beings do not allow ourselves to be pacified by along with home delivery the South African government's lies and our government's willingness to of Art Muscle and your believe them. The horrors are no­ name on the masthead where near an end. for two years. When unarmed taxi drivers are being shot and beaten for creating traffic jams during a protest, it doesn't seem that apartheid is ending. People are still in slums so horrible you couldn't even imagine and wouldn't want to. We've got plenty of 3:00 PM. SUNDAY, MAY 9, 1993 Weasler Auditorium We cannot be lulled; if we allow our­ magazines and plenty of Marquette University selves to be, things will never change. room on the masthead, (Corner of 16th & Wells) Michelle DeCou but not too many mugs. So don't just sit there ADMISSION General $15 ART MUSCLE welcomes letters to the thinking about it. Members $12 editor. Please address correspondence to: Students & Sr. Citizens $7 Send your $50 check in Letter to the Editor Art Muscle Magazine today and get your hands FOR ADVANCE TICKET PURCHASES & INFORMATION POBox93219 PLEASE CALL INDIA MUSIC SOCIETY AT: (414) 521-4761 Milwaukee, WI 53203 around some real art. ^V Renaissance secular vocal music has equal This interaction does not occur in Jensen's beauty of sound and brilliance of con­ other works. Different domestic interiors struction, but expresses more earthy emo­ have titles such as Miss You (the bed­ tions. One or two madrigals, even as an room) or Mama Hated Cooking (the encore, would have provided an appre­ kitchen). In each scene, a snake is pres­ ciated contrast to the spiritual radiance of ent. I wondered if these works could be the mass movements and motets. read as a series that ends with Getting Free, in which the snake is gone and for No such repertoire boundaries limited the first time a figure appears—a mythical the program of the Amsterdam Loeki transformation. The paintings were not Stardust Quartet, who played in a smaller hung to be viewed in this linear manner space but still for a nearly sold-out house. but were instead located all over the In their second appearance on an EMN gallery, interspersed with Beal's work. series, these four virtuoso recorder play­ Perhaps I was looking for a progression ers romped through pieces from the Ren­ that was not there. aissance through the Baroque to the early Classic period, and then encored with Jensen's views of the city were even harder Tall P.," a jazz-style new work they to penetrate. Both the interior and exte­ commissioned from U.S. composer Pete rior scenes (except for Getting Free) are &i l-**^--. «!•-"_, \- ••:.* ••,:- <##&«m&m Rose. devoid of people and seem to have been John N. Colt , Siren Nova, ] 9 89 strictly delineated and defined by the One problem that seems inherent in a vision of the artist Ifs as if she is framing Sally Gauger Jensen,Ho Taboos, / 992 recorder ensemble is an inevitable greater the scene in a way that disallows any including his own—up a crest, he could skewered the brittle, big-headed Holly­ cially for any viewer unfamiliar with Colt's presence of the highest voice, usually the other perspectives. JOHN COLT see that this play, a symbol of his move­ wood mogul effortlessly. Nailing stale work—to have hung the work chrono­ soprano or sopranino recorder, which ment in a less politically charged direc­ lines like "Do I glisten with arrogance?" RETROSPECTIVE logically. In spite of this, however, the makes all the other instruments sound Beal's untitled collages are also some­ tion, was poised to tumble down on him. he lightened a script and a production January 22-February 21 strength of the work shone through. shadowy in contrast. The Loeki players what impenetrable. They are done on a Agnes Martin,lintitied, 1 960 His fears were partially realized: frus­ weighted with indecision. This the gifted UWM Fine Arts Gallery compensate for this. In music emphasiz­ small scale (appr. 9" x 12") and include, trated critics found the unwieldy drama but nervous Odets would have appreci­ effect. They are beautiful surfaces that divorce. She said it couldn't get much Jamie Daniels ing the play of melodic lines, like the Ren­ among other things, old and new photo­ "cruelly disappointing." ated on his formidable opening night lack tangible depth, a lack that is at once worse than that Also memorable is "El­ John Colt's work will be familiar to any­ aissance period selections and the three graphs and found objects, such as fishing pleasant and disappointing, making the egy for Jenny," the grandmother with the one who has followed developments in transcriptions from J.S. Bach's The Art of lures or feathers. What I found most inter­ Though the play was largely dismissed Megan Powell work sometimes look more like generic serene clear gaze on the cover, now an Wisconsin art over the past three decades the Fugue," the top voice always called esting was the recunent images of posed EARLY MUSIC NOW after that first run, some potent flashes of "bank art" than anything else, especially "old crow in a tree of ribs." or worked out of the Art Department at attention to itself, but the quartet never al­ women—these includedads for women's AMSTERDAM LOEKI Odets' skill shine through Rocket's an­ when one sees a lot of it side by side. UWM, where Colt taught painting for lowed it to drown the middle and bass underwear, women in flirtatious 50's-type AGNES MARTIN STARDUST QUARTET tique veneer, as UWM's Professional There is no threat in the work, no friction, Part m includes "Thallasemia Minor" many years. As this retrospective exhibit parts. It must have taken immense postures, nudes in different stances. A February 12 - April 4,1993 February 13 Theatre Training Program confirmed in and thus the lack of specific representa­ about her inherited anemia which lays made abundantly clear, Colt's life-work amounts of work and careful listening to picture of a nude woman in a feathered Milwaukee Art Museum All Saint'sCathedral its shaky but interesting production. Cast tion leaves a void rather than providing many of her family skeletons to rest, but has been an especially rich contribution achieve this. headdress appears in several of the col­ THE TALUS SCHOLARS members worked with clunky, dated any provocation. which, according to Feraca, also con­ to those developments, and the element lages which suggests they might be self- Regardless of what else you think of her February 20 dialogue and rough-hewn characters firms her family ties. of familiarity does nothing to lessen its The recorder consort is considered a portraits. The idea of a woman photogra­ work, Agnes Martin has to be admired for Cathedral of St John confidently, finding some strong moments So, while I can admire her for having impact. historical performance medium, but the pher engaged in self-exploration using in its thin story about a timid dentist who her stamina—she is one of the very few managed to sustain a career and a strong, Before I heard Feraca read Sharon Olds Loeki group is not pedantic about that. photographs which connote exploitation practicing women artists to have success­ Any review of these wonderful concerts must choose between his haranguing wife characteristic style through three decades with relish and realized some similarities For those previously unfamiliar with Colt's Indeed, the most brilliant pieces on the of women is a curious and compelling ful ly broken into the notoriously mascu­ must begin with a Laude (Latin for praise) and ripe young secretary. Ben Stark, of wildly oscillating art world trends, in their style and subject matter, I'd found delicately executed shells and vibrant program were transcriptions of a charm­ one. The viewer of Beal's collages is kept line postwar American Minimalist art to Early Music Now for sponsoring them. D.D.S., who may represent Odets' fears Agnes Martin's work left me cold. Per­ her moods and focus often like Sylvia insects, the exhibit was surely an instruc­ ing Johann Christian Bach string quartet somewhat aloof by an enigmatic iconog­ scene. EMN has been bringing to Milwaukee fifty-five years ago.falls perpetual prey to haps this suggests that "less" can also be Plath in the hint of the histrionic and tive revelation. His career attests to the and of a vigorous Vivaldi concerto origi­ raphy; however, one is seduced back to some of the finest performers of Medie­ his needy, domineering wife Belle. She too little. macabre, and all the physical and dy­ fact that, the postwar critical demand for nally for solo violin, string and basso them by the glossy or gilded surfaces and Minimalism is the movement that was val, Renaissance and Baroque music since insists that he remain in private practice Jamie Daniel namic references to blood. Paging back stark, nearly colorless Minimalism not­ continuo. rich textural elements. initiated in the early 1950"s by the likes of 1987. A Chicago-area musicologist friend, rather than pioneering the field as he through Crossing the Great Divide, the withstanding, it is indeed quite possible Robert Rauschenberg, whose White Jeffrey Wasson of Barat College, reports once did. His worldly father-in-law, Mr. sometimes frightening power of the well- for an artist to work within the bounda­ Leon Cohen Beal's more or less straight photographic Prince, urges the stolid Stark to "explode" Paintings (1951) were little more than a that the much bigger city has no organiza­ CROSSING THE crafted lines struck me: ries of representation without limiting his pieces often show the same predilection by having an affair with his spirited secre­ series of rectangular canvases covered tion resembling EMN and little audience engagement with the complexities of for reflective elements. Other ideas carry tary, Cleo Singer. If Stark illustrates the with a layer of smooth white paint and GREAT DIVIDE for this kind of music, and so doesnt wrinkled form, and to use color both mimetically over as well—Eva foregrounds the idea, dulling of passion, then Cleo is the force hung in close proximity to one another, rippling flanks unleash black rain often get treats like these. NOT FOR THE FAINT Poems by Jean Feraca and for its own value. Colt's recent work referenced in the collages, of woman and radiation of it. "It's getting late to play offering the viewer no trace of traditional foregrounds the same energy and intense OF H'ART posed and commodified: you look at a at life; I want to live it," she tells Stark. He "content" or representation. Minimalism Many are probably familiar with Jean I who thrash & thump about down here in the The more newsmaking program was blood interplay of color as do, for example, Sally Gauger Jensen and Maggie Beal scantily clad woman/mannequin through falls for Cleo's unschooled energy, but was marked by unvarying or only si ightly Feraca, the talk show host on Wisconsin certainly that of the Tallis Scholars, the Kandinsky's small abstracts, without sac­ January 15 - February 26 a window who looks back at you while she proves to be too incandescent for his varying repetition, such as that which Public Radio, for her timely guests repre­ blind clubfoot dark superb 10-voice British singing group rificing the specific reference of the im­ behind her you see other people all look­ weak fumblings, as well as for Mr. Prince's characterizes the musical minimalism of senting politics, the arts, education. One named after English Renaissance com­ Grava Gallery age. ing into other windows. Voyeurism and more sophisticated overtures. Cleo strikes Philip Glass or Steve Reich. This sort of respjects her thorough quest ions, her care wary as a whore in steerage, travelling alone poser Thomas Tallis (c. 1505-1585) and consumerism in terms of women and out on her own, leaving them both be­ work was much maligned and also much for the issues. led by musicologist Peter Phillips. They The title of this show seemed to suggest Unabashedly representational, Colt's vi­ society and in terms of art itself all come hind and Rocket with a climax that rings admired for its apparent willingness to I want you back again, tyrant were a late addition to EMN's performing that the art you were going to see could sion of the natural world is consistently into question in this work. hollow, since Stark never does choose concede to the viewer (or listener) the I was delighted to realize this calm, wise schedule, the result of a lucky unsched­ be shocking. The works of Sally Gauger like a dancer held to sacrificial pole more complex and much weirder (if this between his wife and his mistress. entire burden of making any sense of the woman was also a poet when I found uled night during the group's current U.S. Jensen and Maggie Beal are interesting, I'm ready now term can be understood in a complimen­ work, of deciding what, if anything, it two of her lyrics in the Wisconsin Poets tour. Yet such is the ensemble's reputa­ but do not require special fortitude from It was hard to respond to much of Beal's 1 feel the venom rise tary way) than might be expected. These might "mean." In Minimalism, the mod­ Issue of the Wisconsin Academy Review. tion among early music fans that tickets the viewer. In fact, both artists impose a andJensen' s work. Perhaps the emphasis Julie Mazzarella captured Cleo's transi­ aren't National Geographic-Styie close- ernist credo that "less is more" was taken They were strong, passionate imagistic were sold out about a month after their distance that keeps the viewer somewhat on autobiography limited viewer interac­ tion from naivete to integrity with well- No wonderthe book ends with a poem of ups of the secret life of plants or everyday to its most literal extreme. love poems. Craving more, I ordered her appearance was announced, and about objective and remote. Stylistically and tion. But each artist, working in different focused intensity. The rest of the PTTP convalescence, after that athletic, soulful life inside the hive. Rather, they reveal the new collection Crossing the Great Divide 800 people attended the group's first technically, the works are quite differ­ styles with different subjects, did one ensemble offered uneven performances, entanglement, illness a nd sex with a large- hidden, extra-human eroticism of the I n Martin's canvases, which are uniformly when it was published by the Wisconsin Milwaukee concert. ent—Jensen exhibited pastel and prisma- work that confronted the viewer from which matched Peter Hackett's patchy thighed satyr! The whiteness of the last natural world, its constant celebration of square and often presented in series, a color representations of interior and ex­ within the picture engaging them on a direction. Overall, Hackett did well by Academy. It is a handsome copper-col­ poem represents a tenuous hold on life, itself. The recent paintings especially closer look at what initially appear to be terior scenes; Beal showed photographs more complex level. Beal's Eva and Odets; he translated the oppressive ored book picturing her youthful grand­ in a spring setting. Her love is likened to provide the vantage point of the detailed, The Tallis Scholars specialize in Renais­ mechanically reproduced grid patterns and small collages. Jensen's Getting Free linked the artists to summer heat, the closeness of the dentist's mother in a white lace dress against a a rop>e ladder droppjed out of attic dark. microscopic close-up without the de­ sance sacred music, works comprising reveals what are actually minute, meticu­ each other in an interesting way that also office, and the Depression-era angst viv­ backdrop of some Italian mountains. Jean "The past is done/I've sloughed it off, a tached, passionless perspective of the interwoven melodic lines. Though these lously handpainted segments of canvas. Jensen's image Getting Free was the first formed a connection to the viewer. idly, but failed to make solid choices is depicted on the back as a child, also dead skin." scientist, the "properly" objective lack of compositions' pure harmonies and pri­ The paint is sometimes supplemented one inside the gallery door. This work about the ambiguities of Odets' charac­ wearing a white lace dress. Two of the identification with what is under the gl ass. marily scalar melodic patterns sound with wood, nails and gold or other metal­ sets up a thought-provoking contrast. It is Linda Courbin Pardee ters and the flaws of the script. Nor did the book's themes are suggested by its cover: This is my own darkness I'm making peace Colt's shimmering insects are like spec­ simple, they demand the utmost musi­ lic leaf overlay, but all of these materials an interior view of a bathroom seen from tension between Cleo and John C. an exploration of her relationship to her with. ters and ballet dancers and hallucinations cianship to master their rhythmic intri­ are subordinated to the demands of fairly a high vantage point. Your gaze is di­ Tessmer's Stark fully unfold, due mostly Italian roots and her links to family. I can sit beside her now. all at once. They dance and quiver and cacy, stay in tune, sustain long phrases, uniform repetition. The paintings vary I can listen to her lunatic laughter. rected to the bathtub where most of a to Tessmer's strained—verging on con­ buzz with life. Colt is a native of Wiscon­ prevent the sweet sound from becoming ROCKET TO THE slightly in color as well; some are shad­ body (including the head) is hidden by a vulsive—performance, in which he came At a book-signing reading she gave at sin and has remained firmly rooted here, bland and preserve the serene mood from owy combinations of blue and brown, Feraca on the radio is controlled, com­ shower curtain. With a shock, you realize MOON off as a shaky adolescent Schwartz Booksjanuary 28, she read only but he has also made regular excursions dullness. The Tallis Scholars not only met such as Falling Blue (1963), while others passionate, her focus on outer issues. The that the water is red and that the arm Clifford Odets one poem from the early section, Trav­ to Haiti, a country whose light and vi­ these challenges brilliantly, but the ten of combine subtle shades of coral and beige poet Feraca is personal, selecting words hanging over the side of the tub signifies February 18 - March 13 elling South from Rome"—which con­ brant colors are evident in his increasing them without amplification could project Aside from Alain Hunkins' Mr. Prince, {Milk River, 1962). Like Georgia O'Keefe, well to ride some rough waves of feeling. not relaxation but death. Through the UWM Professional Theatre Training Pro­ tains Italian scenes and a sense of exile. use of luminescent oranges and corals through that huge cathedral the effect of whose age and accent did not read well Martin interrupted her career in mid­ She's quite tiny, but stands tall, ready to bathroom window is a woman standing gram She delved more into Part II "Caves" and and greenish-yellows. a choir many times their number. on stage, the performance of the periph­ fight, to laugh, to 1 isten, to receive as well at the edge of a body of water smiling stream and headed for the bleak land­ Part III "Sailing to America." The strong­ eral cast was studded with some gems. scape of New Mexico, which may ac­ as to depict starkness and loss. Many of directly at you. The highly charged sub­ The story goes that Clifford Odets wasn't est three from "Caves" include "Heart The program's selections of works from Janet Geist marked Belle's layers of se­ count for the pale corals and greys of her poems can be wonderfully universal, Although this exhibit provided an admi­ ject of suicide opposes the coolness which comfortably anticipating the 1938 New Attack," a very urgent plea to have the just four composers—William Byrd, Ni­ verity and insecurity well. Stark's col­ some of the larger series. Her work is not like "Post Pa^tum:,' rable representative selection of work characterizes Jensen's style—the colors York opening of his newest play, Rocket father she knew and loved back, as colas Gombert, Josquin Despres and league, the beleaguered Dr. Cooper, was alienating or "cold" as Minimalist art is spanning Coifs long career, a rare oppor­ are bright, the lighting flat, the lines sharp, to the Moon, from a plush seat. He was opp»sed to the man with "arms slack," Orlandus Lassus—displayed ample vari­ portrayed with simple poignancy by Rick sometimes criticized for being—the shim­ my berry, my sweet black frog, we are lost tunity to contemplate the organic devel­ the patterns strong. The confrontation retching in terror in a cramped basement "rags of your face." The audience re­ holding each other's trembling ety within the common style. Neverthe­ Long. Other unaffected delights included mering surfaces of beige or coral or blue opment of that work was lost in the rather between style and subject, between the toilet, struggling with what he thought quested "January Thaw." Feraca was like an old man's hands less, limiting themselves to sacred music Jeffrey Schaetzke's cynical and wise have, individually, a strangely calming confusing way in which it was hung. It viewer and the representation is pro­ was certain failure. Like a Sisyphus push­ shocked, saying it was the most depress­ is perhaps the Tallis Scholars' only fault Frenchy, and Andy Hoffman as Willy Wax would have made more sense—espe- vocative. ing the heavy weight of expectations— ing p>oem in the book and concerned Angela Peckenpaugh PREVIEW

WAITING FOR VERN MADE IN MILWAUKEE Collision Theater Ensemble Wild Space Dance Company March 4-13 Aqua Velveeta Helfaer Theatre, Marquette University May 20-22 Stiemke Theater

i In the program notes for the premiere of Waiting/or Vera, playwrightJame s deVita Its pedigree dates to Marinetti and early identifies his play as a tailpiece to a Dutch 20th century Futurism's romance with the play, Waited Long Enough, which itself machine, but "industrial music" as we was a tailpiece to Samuel Beckett's Wait­ know it today began in the early 1980's as ing for Godot. This circular art-imitating- romanticism for the machine. Factories art-imitating-art (-imitating-life?) pattern were closing and artists yearned to move is fitting tribute to Godot, which in 1953, into the empty lofts. Engines fell silent popularized the "theatre of the absurd." and musicians yearned to replicate their Absurdists typically abandon traditional, reassuring rhythms. linear play structure (nothing happens) and espouse existential philosophy Some industrial music groups cross over (nothing is all there is). into pop culture. Witness rave parties and the slew of successful acts on The premise of De Vita's one-person play Chicago's WaxTrax Records. Others share is simple: the Actor enters—late—to a the modest aspirations of Milwaukee's bare stage, where a new play reading has Aqua Velveeta, who have written scores been scheduled. After profuse apologies for several independent films and videos to the audience, the Actor freezes, realiz­ and Wild Space Dance Company. ing that his partner, Vern, is later than he. Quickly, the Actor spews a neurotic The body language of the dances of Aqua stream-of-conciousness monologue Velveeta's upcoming collaboration with based on seemingly smart rules for living, Wild Space, "Made in Milwaukee," is stated as inane cliches. The frazzled and inspired by field research at Milwaukee's tardy actor ironically reveals, "Better an surviving manufacturing sites. Sounds of hour early than a minute late. That's my the work place, the rhythm of the work­ motto." ers and even their visual attitude find their way into the performance. Made in The play initially explores the meaning- Milwaukee manifests the often unstated

David Russick,He\d Close,? 992 lessness of language in silly and quick- concerns of industrial music. paced stories, all of which are intended to gathering and burning leaves symboliz­ conceal what's really going on—that the "We're celebrating that [blue collar] as­ DAVID RUSSICK ing the passage of time and mortality. audience and the high-strung^Actor are pect of our culture and underlining the New Paintings waiting. When the Actor boldly states, values that have supported it. When you March 5 - April 10 Two works in the exhibition serve as "I'm not waiting anymore ... I'm doing," remove those values, what happens?" asks Dean Jensen Gallery transition pieces between the family- the play makes a philosophical and theat­ Deb Loewen, Wild Space's artistic direc­ based work and larger, landscape-ori­ rical shift. The Actor continues in his tor. "Those values include the pride David Russick's new work continues an ented paintings that address the artist's stream-of-conciousness style, but his workers take in their product and the engaging balance of autobiographical ico­ role as gallery administrator and active reflections become more revealing: "I social aspect of working on the line. If nography and narrative with cool, calcu­ painter. Rider uses his trademark silhou­ come from a family where, if you don't you don't accomplish your job the next lated, design-oriented paint application. ettes in the form of charm bracelet medal­ talk about it, it never happened." The person gets screwed up. When one man While these moderately scaled works lions which float in a green and blue power of language evident in this dys­ does the job with 12 machines, what draw upon familial nostalgia and art world landscape similar to Roger Brown's work. functional family code resonates in dis­ happens? He has little contact with the homages as source material, they present Maybe, Maybe Not yearns for the youth­ harmony with the more simplistic con­ product and no social interaction." these heartfelt influences in hard-edged, ful experience of unadulterated baseball ceptions of language used in the Actor's graphic form. with the presentation of a card size image early monologues. In some ways Aqua Velveeta's methodol­ of a ball park, reminiscent of the pro­ ogy is similar to Loewen's understanding The marriage of unlikely partners—fam­ grams at Wrigley Field. It also calls for By the end of the play, the Actor has of the blue collar mind. Bill Berens, Paul ily and art, gestural painting and graphic motherly nurturing with scribbled text embraced the existential position that Dickinson, Paul Gaudynksi and William format—catapult these idea-based works that reads "Help Mom E". actions—not language—determine Thayer collaborate as closely as assembly beyond a critique of appropriation into a meaning. After discovering that the script line workers, manufacturing music from territory few painters successfully navi­ The reference to environment, whether is nothing but blank pages, the Actor electronic sources, conventional musical gate. Employing the conventions of pop, ball park or expansive landscape, forces accepts hisown power of choice: "I could instruments and sounds taped at indus­ abstract and imagist structuring, Russick Russick to expand his vocabulary be­ do anything I want." No longer the pawn trial facilities. The difference between the takes us on a peaceful journey through yond intimate family enclosure while of a theatrical establishment, the Actor quartet and the average work shift lies in history-ville, religion-ville, and gallery- maintaining his diaristic agenda. embraces freedom/responsibility. the spontaneity of Aqua Velveeta's prod­ ville, ending up in Wrigley-ville. uct, produced by trial and sometimes References to art world personalities have Philosophical underpinnings aside, the error rather than out of a mold. Some of The paintings are arranged in groups that become a staple in Russick's vocabulary. play is funny, and DeVita, who also per­ their music has the dark aura of a factory support similar ideologies. Upon enter­ In the works Beattitudes and Jumping formed the only role, captured a quirky on third shift, of dimly lit machines tended ing the gallery, the first group of works Jack, straightforward homages to Sherrie and detailed portrait of an insecure actor by skeleton crews. Contrary to the doom- presents references to the artist's family. Levine and Jim Lutes are unmistakable in who hides within his roles. Repeatedly saying tendencies of much industrial Held C/osedepicts an image of a stretched their tribute. However these calculated brushing his hair off his forehead and music, the Velveetas often show a sense canvas floating in a light blue ground. quotes haven't limited his ability to stray tucking his shirttails into his pants, of humor in their appropriation of TV Within the illustration rests the silhouette off course enough to subtly reference the DeVita's Actor showed concern with show voices, R&B rhythms and other bits of a hand gently cupping the profile of a work of Ed Ruscha, Lucas Samaras, and surface appearances. and scraps of pop culture. young girl, the artist's daughter. This stig­ Chuck Close. Within the confines of artist mata suggests assurance that this father quotation, Russick has playfully taken us Director C. Michael Wright wisely kept The group's current roster, together since will surely comfort his daughter while into the back room of a gallery and pulled the pace moving quickly without strain­ 1985, made its first impression playing simultaneously reminding us of Christ. his favorite pieces from the racks. It is ing the sometimes facile, sometimes elo­ the role of a decidedly discordant polka Russick's keen sense of contradiction aids here, in the vaults of supposed contem­ quent script. Although the bare stage band in the wedding reception sequence his subtle critique of the artist's hand as porary master works, that Russick hum­ realistically supported the play's prem­ of Cathy Cook and Claudia Looze's June god-like component in the creation of a bly places himself in service of cataloging ise, other design elements directed the Brides and provided much of the film's masterpiece. By eliminating the painterly and documenting these milestones in con­ audience's attention to the play's themes: whimsical soundtrack. Rarely perform­ gesture, Russick challenges the modern­ temporary painting. the lobby, for example, was filled with a ing live, Aqua Velveeta has reached the ist painting tradition exaggerated by Pi­ display of watches, clocks and hand- public largely through music produced casso, deKooning and others. Russick Russick's employment of Victorian-like scrawled quotes about time. (One, attrib­ for the work of other artists.Last year, the continues his family discussion in Life family reminders coupled with his choice uted to Marilyn Monroe, stated," I've been group released a 13-song cassette with a Boat and Underneath. The former is a to emulate his artistic influences results in on" a calendar, but I've never been on grant from the Wisconsin Arts Board. pedestal piece which presents a simpli­ an engaging body of work that moves time.") By getting the audience to con­ fied boat form supporting three painted beyond his previous accomplishments. sider time—and how we spend it—the "Overall, not playing in front of an audi­ canvases as sails. Although the work lacks As a lifetime of collecting baseball cards production team created a lens for exam­ ence has helped us," explains William firm commitment to a school of painting can immortalize athletes, Russick displays ining our own responsibility for creating Thayer. "We certainly aren't caving into or sculpture, it straddles the boundaries admiration for his subjects. meaning in our lives. anybody. There's nobody to cave into.' separating the two. Underneath posits a poignant metaphor in the form of leaf­ Richard Runkel Dave Luhrssen like grouping. One might reference Sir John Everett Millais' Autumn Leaves, the North Carolina Glass

25 Of The Best Studio Glass Artists

Opening Friday May 7,5-8pm Through June 19,1993 FINE ART April Featuring GLASS Craig Quinnies Mixed Media PRINTS Stephane Briere Photography FEATURED IN APRIL & MAY DRAWINGS Roma Karas New Paintings DAVID FAUBLE. Pastels & Paintings PAINTINGS

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Breakfast Sundae • Jogger's Breakfast Continental Breakfast • Grilled Rasin Nut Bread Vegetarian Soups • Vegetarian Chili Pasta Salad • Caesar Salad • Oriental Salad Vegetarian Sandwich • Spinach Lasagna Garden Vegetable Pizza • Pesto Pizza Vegetarian Quiche • Stuffed Potato Zucchini Sticks • Vegetable Patty Vicki Vegetarian Couscous • A Variety of Pastas [^ Schober Ed Company, Inc THE COFFEE TRADER • HENRY'S PUB • CAFE DEMI Specialty papers and boards to serve the line arts, graphic arts, and picture frame industries. 2625 N. Downer Avenue • [414] 332-9630 2363 North Mayfair Road 414-476-8000 • 800-541-7699 (Across th. street from Mayfair Shopping Center behind the Billings Piano Store) #811 RETAIL PAPER STORE OPEN MON.-FRI. 8:30 a.m.- 5p.m. • SAT. 9a.rn.-l pm HISTORIANS TELL US THAT MANY WARS ARE FOUGHT FORONE OVERARCHING REASON: scarce resources. So it's not surprising that over the years in Milwaukee, symbolic skirmishes have erupted regularly over one of the scarcest of local resources—arts funding.You name the pot of dollars that's up for grabs, we'll name at least two people or groups who've haggled over it.

One of the latest funding programs to provoke dissent has been the Milwaukee County Individual Artist's Fellowships, a four-year-old program funded jointly by Milwaukee County, the Milwaukee Foundation and the Bradley Foundation. The program is rather like a local version of a Guggenheim or an NEAfellowship—each year it gets money into the hands of five individual artists who create art, not just the groups who perform it.

But somehow, of course, it must be decided each year which artists are to receive the honors. And this is the subject of the debate that begins on these pages. In one corner is performance artist Mark Anderson, who has both participated in planning of the program and applied for fellowships. In the other, members of this year's Art Futures, the group of artists responsible for fundraising and planning of the fellowship program. ONE ARTIST SOUNDS OFF / OTHER ARTISTS RESPOND By Mark Anderson By Art Futures

In the past four years the Milwaukee County Artists Fellowships has Before the Milwaukee County Individual Artists Fellowship program disbursed $165,000 to 21 area artists. The awards were $5,000 the first started, there was little local awareness that "individual artists" actually year, $10,000 the next two and $8,000 this past year. There are five existed. County officials couldn't even find words other than "arts recipients each year (in 1991, an award went to two collaborating group" to refer to a fundable entity. Though local funding of arts groups artists). This money has no strings attached, is not contingent upon topped $20 million each year, none of this money flowed into the hands subsequent production, and artists are free to spend it any way they of individuals who create art. The obvious absurdity of this arrangement choose. A fellowship has more to do with what you've done than what motivated a group of artists to argue for a fellowship program. When we you will do, although it is assumed you will continue to enrich the local were charged by the county with developing a program, "we" became arts scene. "Art Futures." Art Futures considered simi­ In theory, the impact of the lar programs and devised lioney lasts beyond the fel­ what seemed, at the time, to lowship year. The amount be the best possible proce­ could double the annual in­ dure to distribute money. Our come of many area artists, assumption was always that while for others it could at this would be a very human least make things a little bit and thus imperfect process. easier. In any case, it can help We cannot emphasize artists buy materials, person­ enough the evolutionary na­ nel, time or whatever they ture of this program. It was need to carry on, and then not set at one time by a few their output might increase, individuals, but is always their quality might improve, changing, always soliciting and their fame might extend new ideas from throughout further outside the county. the community. To date, 70 This is good for the artists and artists have served either on good for the funders. Yet, de- panels or in Art Futures. ''"Sgtf&aH of that goodness, 150 to 200 people are upset by Before addressing the details this program each year: the of the program, we would losers. (Well, not all are upset, like to address an issue that I'm sure; some are.) This is seems to underlie opposition understandable on a gut level, to it, and that is the question iHid most losers will be happy of why already-successful art­ for winners who are friends of ists are receiving these fellow­ theirs, but many grumbling ships. Or, to put it another conversations ensue over who way, why quality is the only got the award, who was on criterion used in evaluating the panel, which medium was applicants. honored and which wasn't, and more. From the very beginning Art Futures agreed the process This is not to say that the should be absolutely inclu­ winners didn't deserve to win. sive because we couldn't find But there are many excellent good reasons to make certain artists in the area who haven't people ineligible. To consider been picked, and some people "need," for example, is prob­ question the results. I've had lematic. If one artist "needs" conversations with winners, the money more than an­ losers, and panelists in an at­ other, who should make that tempt to clarify some of the decision—a psychologist, an issues. accountantora social worker? Should panelists drive past Many people don't really the artist's house to see what understand how the system kind of car is in the garage? works. Very simply, the Or if he even has a garage? funders put up the money, and a procedure is used to If there is another criterion for determine who gets it. You evaluating artists, we don't apply, your application is know what it it is. The notion of quality, despite all its flaws, whether you qualify, and if seems fairer and perhaps so, your application goes to more honest than any other the panel. The panel spends a standard. It is the way, after all, that most artists privately

" :•':-.• • -.• •;.' ::.;•_.. ' . • , evaluate their own work. •••' .•:. •"."... ^.: -,..::: • .^ ' / •'•Cr-": illustrations by Mark R Nergaard im. : \ ; : - ; ' ' This is not to say that the and narrow and argue, and so fellowship program is not on, until five artists are left aware of the limitations of standing. One of the peculiar features of this program is that judging is '. :. / ',--;.: •->.':/,'\ :. •. •'" \ ••- -:..v :• :.:. , v.\-,:v - - •;. •' .: ; by a "ten-member peer review panel of professional Milwaukee County

artists" (the initial mandate was for generative artists only, as opposed '"•••••-'.•: • ..••••. :::" •'•-' .'7 •••• -:7 •-"' - "' •.•:•. to interpreters or art administrators, although that has since been sure there was a genuinely diverse panel, their choices would reflect the breached). most authentic and expansive notion of quality possible.

This procedure was devised about five years ago by a bunch of local The proof is in the outcomes. We believe the panels have selected fine artists, myself included. We didn't agree on everything, but the current artists to accept the award, and we encourage anybody who is shape of the program represents what was generally agreed upon. At interested to talk to the panelists (listed here, along with fellowship this point, there is a specific body, Art Futures, who administers the winners) about the process. Anderson continued Recipients program and makes the decisions that affect who gets the money. The most significant decisions they Estherly Allen, visual artist make is who gets on the panel. Martha Bergland, writer Jon Erickson, performance artist In most programs of this sort, panelists are chosen from outside the granting area, assuring only a Luis Roldan, visual artist minimal chance of a personal connection with the applicants. When panelists and applicants know each Diane Vanderhei, choreographer other, there may be conflicts of interest, or the accusation thereof, and that can be divisive to the arts community. Panelists There have, for example, been grumblings about close relationships between some recipients and some Tom Bamberger panelists, or about the times where artists A is on a panel that gives an award to artist B, and a couple Dick Blau of years later, artist B is on a panel that gives an award to artist A. That may look bad, but you have to Dennis Darmek allow that nine other panelists could vote the tenth one down. The truth is, that happens all the time, Susan Engberg locally, regionally and nationally; sometimes it means something is rotten and sometimes it doesn't. John Koethe Another peculiar feature of this program is that all panelists vote on all mediums, which means your Deb Loewen choreography might be evaluated by a filmmaker who doesn't really understand dance, or your short John Schneider stories read by inarticulate painters. Not every artist can talk about his own medium, let along others'. Jill Sebastian Are there enough good, qualified panelists in the area? With ten panelists per year, when will the pool Evelyn Terry dry up? There are indications of a shortage already. The 1991 panel had theatrical producer/director Mark Simpson, and in 1992, musical conductor/producer Kevin Stalheim was on the panel. Notwith­ standing their knowledge and intelligence, neither is a generative artist, and it is unfair that they represent theater/performance and musical composition on a panel with painters, writers, photogra­ Recipients phers and so on. Generative artists know something about the process that the interpreter or consumer J. Karl Bogartte, visual artist of art does not know firsthand, and that is why it's called a peer panel. Rob Danielson, video artist Cross-disciplinary judging is uncommon for fellowship programs. At the state and federal level, there are Steven Foster, photographer separate panels for different mediums. You application will be judged by people who understand your Diane Kitchen, filmmaker medium and yourfield. In some mediums, this is more crucial because panelists often don't see the actual Michael Mooney, writer work, but a document of the work. Documentation has an effect on the work; slides of paintings might seem bigger and more luminous than the actual work; a videotape of dance or performance art reduces Panelists its liveliness and flattens the depth of the space; a typewritten manuscript is less impressive than a published page. It is difficult to sit through all these artforms and not be unduly influenced by the varying Martha Bergland impacts of the mediums of documentation. Cecilia Condit Jon Erickson One way to assess the program is to analyze the results. Without looking closely, one grumbler guessed Anne Kingsbury that the recipients are all over age 32, college-educated, and not first-time recipients of major grants. John Koethe From what I know, that's a pretty close guess; nearly all fit that description. However, that doesn't prove Mike Neville that there's a conspiracy afoot. The guidelines state that judgment will be based solely on "the quality Adolf Rosenblatt of the work sample." Track record, gender, race, medium, financial need and other factors are ostensibly not taken into account. Of course, you don't need to look at the resume if you know the artist, and Jill Sebastian individual panelists might bring a private agenda to the table. There are some things that cannot be Bob Smith regulated. Roberto Sierra Evelyn Terry Although not rife with glaring implications, there are some statistics that stand out in the analysis. For Ed Burgess (advisor) example, there are many more visual artists in the area than, say, film/video artists and performing artists, yet consider the following breakdown of the first four years:

Visual arts—seven. In any given art world, contained by city, county, state or federal boundaries, the Recipients majority of artists will be visual artists, and most of them will be painters. Only two of the recipients overall Marna Goldstein- Brauner, visual artist have been painters. I would think there'd be a lot more photographers, too, but there's been only one. Sheila Roberts, writer Writing—five. I think writers would constitute the second largest group; here, they are tied for second— John Schneider, playwright although the one playwright could be lumped with the performing artists because his plays do get Feme Yangyeitie Caulker and Dumah Saafir, performed. choreographer and musician Rob Yeo, filmmaker Performing arts—five. Whereas there may be a lot of dancers and actors in a given area, there are far fewer choreographers and playwrights: the generative artists of these mediums. And one of the most marginal Panelists of mediums, performance art, has been represented twice. The performance artists, while also being Rob Danielson writers, would have been selected based on their performance work, not on the writing alone. Susan Engberg Film/video—three. Down near the bottom of the ranking, just above performance artists, you would find Mary Hibbard filmmakers and videographers. There aren't many serious filmmakers who can survive in a metropolitan Jenny Krantz area like ours, unless they have a job at the university. It's a very expensive medium to work in. You could Tejumola Ologboni find more videographers, because the medium is cheaper. Still, here we have two filmmakers and one Bruce Renner videographer. And all three teach in the film department at UWM. Luis Roldan Mark Simpson Bob Smith Yehuda Yannay

Recipients Christopher Davis-Benavides, visual artist Debbie Davis, performance artist Karen Gunderman, visual artist John Koethe, poet Deb Loewen,choreographer

Panelists Muneer Bauhaudeen Is there anything to learn from the results? Does this mean we can deduce that the artist population in John Colt Milwaukee is equally divided by gender; dominated by whites; nearly half employed at UWM; that there Diane Kitchen are lots of choreographers, film/video makers and performance artists; and that there isn't much in the way of composers and poets and remarkably few good painters? Sheila Roberts John Schneider It may be that there is nothing in particular to learn about the pool of artists in the area, but maybe the Kevin Stalheim breakdown reflects more the makeup of the panel. And maybe the makeup of the panel reflects more Diane Vanderhei the makeup of those who select the panelists. And that would be Art Futures. Let's hear from them. Janica Yoder Art Futures continued For its part, Art Futures has resisted drawing too many conclusions from the results of the panels. So far, only 20 artists have received awards, a small sample that does not include the scores of artists that are considered qualified by the panel each year or the many talented artists who, for whatever reason, choose not to apply. But it should be remembered, the purpose of the award is to reward artistic achievement. Consequently, one should neither be surprised nor resentful that many of the recipients are older, college educated, previous national grant recipients, or even teachers.

We have wondered, along with Mark, why painters haven't dominated the visual arts awards. Is the process flawed or are there simply some very strong artists working in other mediums? (As a point of comparison, this year only 10 percent of visual artists in the Whitney Biennial, a survey of American art, are painters.) And what does it mean in a community with only a handful of individuals who even call themselves "performance artists" for two of these individuals to have received fellowships? We don't know, but we are delighted that these talented individuals were recognized.

In a community where there is little support for independent art makers, where many younger artists leave, it is remarkable how many non-university artists have received awards. Other than music composition, just about every medium we can think of has been funded. The awards have crossed ethnic, stylistic, sexual and political boundaries. And all of this diversity was accomplished without resorting to moralizing mandates. African-American and Latino artists were given fellowships simply because, according to the judgment of the panel, they did the best work.

As for the multi-disciplinary nature of the panel, it was first considered because it seemed to overcome some of the unique circumstances of a small county-wide program. A multi-disciplinary approach eliminates the need to decide how many awards will go to each medium before the applications are even seen by a panel. In a community as small as Milwaukee, we didn't want to mandate that there necessarily be an award in any particular medium. This is a problem on the state level, where 26 percent of media artists are funded compared with about 9 percent of the visual artists; or in Madison's local fellowship program, which eliminated choreographers in part because so few candidates competed for those awards.

Separate outside panels for each discipline would be so expensive that we would have to eliminate at least one award each year. Already the administrative cost of the Fellowship program is too high. Last year, nearly 17 percent of the funds went to running the program—for only one panel which required no travel costs or lodging. This year we will try to lower administrative costs to under 5 percent, which promotes greater confidence in funders and leaves more money for artists.

Objections to having a non-generative artist on the panel are perplexing. To our knowledge, we are one of the few if not the only granting programs that even attempts to limit panel members to those who are primarily originating artists. Kevin Stalheim was asked to be on the panel because there had been a small number of music applications and no music awards. We thought that rather than taking another qualified applicant out of the pool (as we had done in past years), we could use Kevin's invaluable experience and knowledge.

The relationship between the make-up of the panel and the award winners is an issue Art Futures wrestles with each year. As we put a panel together, we try to balance various disciplines and take into consideration the performance of the past panels. This is harder than it looks. Putting more painters on the panel can have the counter-intuitive effect of having no painting fellowships because individuals are often more critical (even envious) of those in their own medium. Sometimes it works the other way around.

A large multi-disciplinary panel also makes it more difficult for any one individual's agenda to carry the day. There is less potential for favoritism because local artists in different disciplines are often less connected with one another than with their national peer group. Since members of the panel are drawn from the community, they are held accountable for their decisions in a way that outside panelists might never be.

Finally, this particular process may end up being as necessary as it is genuinely enriching, because the interdiscipli­ nary panel reflects the reality of art making today. Performance art, for example, blurs the distinction between theater, literature and installation art. And it is becoming increasingly difficult and comical for museums to figure out what a work of art is before they decide which department buys it. As contemporary artists cross over boundaries, the specialized canons based on mediums become less tenable.

Moreover, it is our belief that artists are broader, smarter, and more engaged with things other than themselves than the notion of "inarticulate painters" would indicate. Our experience has been that painters read and readers see in ways that are both refreshing and insightful. It just makes sense to us that good art crosses the institutional boundaries that artificially separate artistic experience. When you think about it, it is difficult to think of the history of art isolated within mediums. It's hard to imagine that Baudelaire wouldn't have something intelligent to say about painting, or that John Cage and Jasper Johns didn't have worthwhile conversations. The characterization of artists as self-absorbed and solipsistic is just the stereotype the public must dismiss before individual art makers will get more support.

This year there are new challenges to funding individual artists. Funding is down and the Milwaukee Artist Foundation, which administered the program, has closed. Even if the program is able to continue, $50,000 is an inadequate level of support for all the art makers in the county. We need more money, as well as your help and ideas to keep the program going. Anyone interested in participating should call Bob Smith at 961-1026.

Members of the 93-94 Art Futures committee: Bob Smith, chair. Tom Bamberger, Dick Blau, Portia Cobb, Debbie Davis, Christopher Davis-Benavides, Kate Deicher, Tim Evans, Michelle Grabner, Karen Cunderman, Diane Kitchen, Bruce Renner, Johann Reusch, Sheila Roberts, Jill Sebastian, Carol Sklenicka, Yehuda Yannay. Most offers come with a hook. s B This is ours. ROSISOERGEL DISTINCTIVE -L ART TO WEAR 1111 IF ^111 FXXI—JACKETS / SWEATERS JULIt ^ILLtI 11^— COATS/ ACCESSORIES + LEATHER & OAK LEATHER SHEEPSKIN 244 North Broadway Historic Third Ward Tuesday-Saturday 11-5 s S ^^^S^A

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LEAVING TOWN ALIVE Confessions of an Arts "Warrior JOHN FROHNMAYER Brimming with Leaving Town Alive is optimism, John John Frohnmayer's Frohnmayer journeyed entertaining and to Washington, D.C., provocative account in 1989 to serve a of his trial by fire, cause he believed in c beginning with the deeply: the arts in IIJ Mapplethorpe uproar. America. Handpicked At first, Frohnmayer by President Bush to thought he could be chairman of the negotiate anything, National Endowment and that everyone for the Arts, he was involved had the abruptly fired two and best interest of the a half years later in a country at heart. storm of front-page But he was wrong. controversy.

A Schwartz 100 Book 20% Off in April and May Mr. Frohnmayer goes to Washington Here is a passionate, startlingly candid memoir of the author's stormy term as chairman of the National Endowment for the Arts. Here is also a passionate, intelligent, eloquent plea for the liberation of American culture from the narrow concerns of partisan politics.

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Broadway stars Wild Space in a Neil Simon Dance Company comedy at the Pabst PRESENTS $ MONEY $ Who could ask for anything more? May 20-22,1993 • $ MONEY $ 8:00 P.M. at the See Broadway film and TV stars Stiemke Theater, John Randolph and jane Kaczmareh $ MONEY $ of the Milwaukee in \eil Simons hilarious comedy To spend or not to spend, Repertory Theater "that is the question!" Tickets- $10-$ 12 Classes, workshops and rehearsal space. Broadway Bound at the Pahst Theater See the tragedy and comedy of Spring session begins April 19. money brought to life on stage • in Milwaukee one weekend only- in... ~ " 'hildren and intensive work- May 20-23. sho J „ ft and Jazz begin June 14. 1993 SHAW FESTIVAL • May 21 - June 13, 1993 Children's Classes: Call [414] 968-4555 or the (Both shows presented in rotation) Creative E)iafiGg, Tap, Ballet and Jazz Pahst Theater at [414] 278-3665 • TIMON OF ATHENS m. Adult Classes: by William Shakespeare - . - = ern, Step Aerobics, •i "T'aiChi Ch'uan, Tap and Jazz i • A millionaire gives it all away Guest Teachers and Faculty: Yves de Bouteiller, Van Collins, Debra Loewen, Amy Brinkrnan-Sustache, Dru Cagnoni, Scott THE MILLIONAIRESS Marfilius, Ann Mosey, Tom Ryan, Meg Schrank by Bernard Shaw For Tickets, call the and Tom Thoreson A millionairess takes it all back • Milwaukee Repertory Call for more information and a class schedule: At the Helfaer Theater DANCEWORKS, (13th & Clybourn on the Marquette Theater Box Office at •727 N. Milwaukee StasE; Broadway Bound Tony- jane Kaczmarek from University campus) Milwaukee, WI 53202/ . Award winner John TV's "Equal Justice", FOR TICKETS, CALL 414-276-3191 224-9490 Randolph from the film "Hill Street Blues" and the Milw Rep Box Office at • "Prizzi's Honor" and Simon's play Lost In Scholarships are available. the TV series "Grand." Yonkers on Brodway. 224-9490

iMWOEWtPL&YEIfl 1 •JEL UWM LA Wisiorical (^yboard(Qociety Professional Theatre Assassins' W I Training Program Music and Lyrics, Stephen Sondheim HISTORY Book by John Weidman Wisconsin Premiere WORTH Dylan Thomas' REPEATING

UNDER Beethoven Meets Schubert Malcolm Bilson, Fortepiano MILK WOOD Sunday, March 7 UWM Fine Arts Recital Hall The 20th century's most May 7,8,14,15 -8:00pm May 16 —3:00pm controversial poet takes •:.:••• you on a midnight-to- BayView High School 1H- Classical Creations Melvyn Tan & The New midnight prowl of a small Tickets $6.50-$8.00 jljlll 744-9840 presents... JHBr "- Mozart Ensemble of London Welsh fishing village, and IfjssB Sunday, April 25 1,1*1 W SAND into the intimate lives of Benefit May 13,7:00pm 273-1991 Vogel Hall of the PAC its inhabitants. m COUNTY {Adult Language} sift* pppi m f ALMANAC Concerts at 7 p.m. UWM FINE ARTS "History lesson, carny show and bad dream all APRIL 16-17 "Early Keyboard Conversations" THEATRE swirled into one ... a spangled celebration of Stiemke Theater ft pre-concert events at 6:15 p.m. America, a land where anybody can grow up to APRIL 28 -- MAY 8 ;::-.-.;. kill a President ... Mr. Sondheim and Mr. Pre-concert profile on Weidman have produced a morality play about Aldo Leopold at 7:30pm Performance at 8:00pm TICKETS $7.50 to $18 Tickets: $10/$12 the forces of good and bad, and then boldly exiled Major credit cards accepted goodness to the wings. No musical in the last Reserved seats $8, $10 CALL 229-4308 decade has dared this much." CALL 258-8490 MRT Box Office 224-9490 —New York Times Dancecircus 272-6683 mmMi •mptaNHIlft

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LEEFER GALLERY THE DREAM RENEWED Gallery 218 i^^^^^ Oil Paintings by a cooperative Opening April 16th TERRY FIRKINS Aakers of: Artist's Reception April 16 'The Angels of Spring" Continuing through May 29th folding Screens Present: Km Marie Jones creates a visual delight 1209 EAST BRADY STREET Pottery by Aarilyn Hoffman HOURS: in her paintings M-F: 10-6, SAT: 10-5 Open for Gallery Night Acrylics by David Sosa TELEPHONE: 277-8228 from 7:00-l0:00pm. 414-647-8089 Free performance at 9:00pm. STUDIO—GALLERY (414)6454487 G R A V A 438 W. National Ave. 817 S. 5th Street • Milwaukee, WI 53204 (414)*277*7800 Milwaukee, WI 53204 Open Wed, Thur, Fri Evenings, Sat 11 am-6pm GALLERY 218 S. 2nd St. • Milwaukee, WI 53204 Sun 12 noon-4pm or by appointment GRAPHICS • POSTERS • FRAMING

Milwaukee Institute wmmmm of Art & Design ON THE MOVE WITH "Contact: Photojournalism A Touch of CHRIS POEHLMANN Contemporary Folk Art Since Vietnam" - FUNCTIONAL SCULPTURE - March 15 - April 17 Over 150 images that have become the visual icons of our time. Vessels Leading internationally published CRAIG V.ROBERTS April 30 - June 11 photojoumalists include: Frank -PHOTOGRAPHS- Fournier, David Burnett, Alon Reininger, Jose Azel, J.B. Dietrich Visit our new mini store "Guardians of the Magic" and Annie Leibovitz. ON THE MOVE TO North end of Works by Evelyn Patricia Terry Exhibition continues through Mayfair Mall A Muneer Bahauddeen April 24. MIAD's Frederick 217 NORTH BROADWAY Layton Gallery, 273 E. Erie MILWAUKEE WI 53202 April - May Plus: Fine Contemporary Prints in the Historic Third Ward. 414. 273. 7737 & Gallery Group Show Hours: Mon.-Sat., TUES.-SAT. 10 AM TO 5PM 276-6002 PELTZ GALLERY 1119 E 10:00-4:00. EXHBiTlONDATES: APRIL 16THRU JUNE28 Knapp St. 414-223-4278 OPEN BUABTfMBHr. 230 W.Wells "Suite 202'Milw. Of> Mm GALLERY OF WISCONSIN ART Introducing a collection of art by The Rosenblatt Family Sculpture, acrylics, oils, CHARLES ALLIS watercolors, and videos. ART MUSEUM April 16-May 9 1801N. Prospect Avenue Opening reception to meet the artists Historic Tudor-style mansion 5 to 9 p.m. on Friday, April 16 with a worldwide art collection (Gallery Night) League of Milwaukee Artists Poetry reading by Suzanne and Sarah Lively exhibtion of paintings and prints on Saturday, April 24, 3 to 5 p.m. 931 East Ogden Avenue, 41st annual of one of Wisconsin's most at the corner of Ogden and Astor active and varied art orginizations. Gallery hours (414)278-8088 (414) 278-8295 Monday-Saturday 10:00 to 5:00

V *. Subscribe Six bi-monthly issues for $12 name— address. Art Muscle city.state.zip. send check or money order to: art muscle magazine p.o. box 93219 (L or XL, T's or Tanks, blk on wht or wht on blk) Milwaukee, wi 53203 APRIL 2 - 22, 1993 BARN BURNER

exhibit of work by Barn Storm Arts

APRIL 27 - MAY 1 4, 1 993 21st ANNUAL JURNED STUDENT ART EXHIBIT UWM Stephen Fischer, Ribbons XX (My Stars) 12H x 21W x 8'D HOURS: M, T, W 11AM-4PM, TH 11AM-7PM, F 11AM-3PM, S/S CLOSED 5215 Evergreen Dr. UWM UNION ART GALLERY 2200 E. KENWOOD BLVD. Sheboygan, Wi 53801 229.6310 414 458-4798 Janet and Christopher Graf

UWM ART MUSEUM 3253 North Downer Avenue Narratives of Loss: the displaced body

through May lb FINE ARTS GALLERY 2400 East Kenwood Boulevard Masters Thesis Exhibition The creative work of graduate students completing their Masters degrees is displayed in this group exhibit. ApriH8-May9 Opening Reception: April 18. 1-4 pm ART HISTORY GALLERY 3203 North Downer Avenue A Caravaggio at the Hands of Children: A Study in Art and Children's Perception w UWM Art History MA candidate Anne Kebisek. this exhibit will explore I,

•o upen inn net 4 6-8 pm FOR INFORMATION TELEPHONE 414-229-5070

An exhibition UWM Art Museum in memory of 3253 North Downer Avenue Ruth Grotenrath and Dorothy Bradley:

Schomer Lichtner Carol Rowan

Exhibition continues through April 28, 1993 Wires of Loss The Bradley Galleries 2639 N. Downer Ave. the displaced body Milwaukee, WI 532 ll 26 March-16 May 1993 414-332-9500 Organized by Associate Curator Michal Ann Carley, this exhibition includes the work of artists who utilize grief and Gallery Hours: Mey&i, Mon-Fri 10-5:30, Sat 10-5 loss resulting from social and cultural alienation to create Julilly Kohler and both private and collective narratives. The works attempt to decode the cultural conditions that produce social, gen­ Ellen T. Clark, Owners Schomer Lichtner, "Ballerina and Cow," Painted Steel, 33" x 40" x 19" der and racial displacement.

"Poetics of Loss: Women of Theresienstadt" 4TH ANNUAL 29 April, 7 pm, 175 Curtin Hall tev-v S*fvlt& "Impact of the Vietnam Veterans Memorial Vlyatt on a Grieving Public" HAITIAN ART Quite 30 April, 7 pm, 175 Curtin Hall Jv»v De AiWvve SHOW AND SALE "Indian Nations and Representations" JUNE 6TH NOON-5:00 Quick,~tc-$ee 5 May, 7 pm, 175 Curtin Hall

Curator's Walk Through ART HISTORY MUSEUM 11 May, 2 pm, UWM Art Museum, Vogel Hall MITCHELL HALL UWM Tuu*ke This exhibition and its publications and accompanying events have been funded in part by: Burton & Mayer, Inc., Arts Midwest in association with the National Endowment for the Arts, Wisconsin Humanities Committee (pending) in association with the National EY Endowment for the Humanities, Wisconsin Society for Jewish Learning, Rick Meyer and VIP * ^AftE_HAlTl Harriet Horwitz. FOR FURTHER INFORMATION CALL 229.5070 $15°° DONATION / $5°° STUDENTS HOURS: T, TH, F: 10-4; W: 10-8; S,SU: 1-4 THE MAD mmm- HOUSING SOLUTION

This is the way things get started: '@®mmm ®3w mmm in 1986, an architecture student researching his master's thesis at Georgia Tech in Atlanta asked some homeless people what their require­ ments were for shelter. Answer: not much. Just a roof that didn't leak, a space tall enough to stand up in and £7B£T\£?I-J perhaps a window. The student de­ signed a shelter just 48 feet square that met all their requirements. It had no running water, and no elec­ tricity but it did have a plywood floor placed on concrete blocks to keep it dry, four walls, a roof and a five-gallon paint can stove. The student formed a group called the Mad Housers, and within a year the group had built more than 20 of the shel­ ters, all happily occupied by for­ merly homeless people.

Two years ago, Mad Houser shelters mm began showing up in Chicago. As an article in The Heartland Journal notes, some of the Georgia Tech students built a shelter on some abandoned railroad land in Chicago as part of a Randolph Street Gallery symposium on the Built Environment. Soon afterwards, a homeless man moved in. This small success inspired a group of Chicago artists to start a v new chapter of the Mad Housers. -Z.AU> fUxf. __yyrv <^&/& furVc. Before long, they had built a 18 huts-a small city, really, that soon became a hub of domestic activity. Proud residents painted the huts, cleaned the surrounding land and began planning a garden.

The shelters did not last long in Chicago. The city ultimately prom­ ised space in public housing in exchange for vacating the huts, and most of the residents ultimately agreed. Although those particular huts did not endure, the spirit tm^ behind them did. The Chicago group continues to meet weekly, building huts in undisclosed locations for Tc METAL- E>rts - >r-\e*>X— homeless people who want them. Mean­ while, Mad Housers groups have sprung up in San Francisco, Portland, New York, Cincinnati and St. Louis.

Can the idea take root in Milwaukee? Of course it can. A small group of Milwaukee artists has selected a site for a first shelter and is already amassing donated materials. The draw­ ings shown here, prepared for Art Muscle by Milwaukee architects Vetter- Denk, are of the prototype Mad Housers shelter design, along with, other ideas for simple, inexpensive shel­ ters. To volunteer for construction,' interested parties can write to Mad ' %?A+4£>- XlO' |e.E^f^Ni^6- J& THE: H^e-LE^, Housers, c/o 901 E. Clarke, Milwau­ kee, WI 53212. pag ©KM® ipiijppiuiii^ii ••nan

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Well, yeah, but what appropriate is, I don't know. It's important to see how I think in the community, second-tier theater groups the whole organization is functioning. The job is structuring the situation look at the budget of the Rep and they look at the so that the creative impulses of a number of people can be supported and money spent on fabric and set-pieces and it makes "For me, nurtured. One person can't be inspired to see each one of those 17 projects them angry if a production doesn't work — if it working through from the very beginning to the very end. We're doing six in the doesn't have the passion. It's seen as waste. I think Powerhouse, fivei n the Stiemke, fivei n the Cabaret, plus Christmas Carol. expectations are higher of a company with a large on a play budget. teaches me Whoa! Extraordinary work in the theater is hard wherever you how to So ...yeah! Out of our season of 40 weeks, there's 35 weeks of actual are. I've seen extraordinary work that was done with two live my performance. You're looking at a play opening about every 2 1/2 weeks! boards and a passion somewhere, and I'll have memories And a number of the Cabaret pieces are created from scratch — which of it until I quit. It doesn't have anything to do with life." involves a lot of development of scripts and generation of ideas. So there's money. We do have tremendous facilities and certainly a lot of work, and I think that the job really is about controlled empower­ we're able to use designer language in a stronger, more ment to a number of artists — "channelled," rather than "controlled," I aggressive way than I was able to here in Madison because of budget con­ think is probably a better word. straints.

How many plays will you direct? I'm not trying to in any way negate your question, because it's something I think about a lot, going into it. I'm pleased with my work here; will I be Two. In my first year at the Rep I'm anxious to have a radically fighter able, with more money, more resources, and a lot more facilities, to do better individual directing load, and then in subsequent years, I'll probably increase work? Well, the budget over there is five times what it is here—will the work — I'm sure I will increase the load to three. be five times better? Probably not!

To do extraordinary work, you have to come at it with a certain degree of Is there any way you have in mind to inject your own vision or irreverence and you have to come into it with a really questioning spirit and personality into die company? Marie Kohler talks with Joseph Hanreddy, new artistic director of the have a curiosity about what the life and heart of that piece of literature is and Milwaukee Repertory Theater, about the challenges and potential how to communicate that to an audience. Now, a larger scale of an organi­ Almost the opposite. In that, what you're trying to do is to structure a zation gives you a greater range of artistic possibilities. The restrictions and situation which is highly collaborative. For me, success is in setting some­ pitfalls of running a nationally-known theatre group access to time, space and union crews are more formalized, but that's just like thing in motion and giving a certain definition and a certain direction, but anywhere, that's just the raw materials you're dealing with; those are your the entire group of artists and administrators and technicians work together

By Marie Kohler

Joseph Hanreddy, currently the Artistic Director of the Madison Repertory that, here in Madison, because it was a different situation. I didn't feel that to establish the real route to that destination. To try to make the theater tools. In Madison, we may move around to three rehearsal halls in a three- Theatre, is about to assume artistic leadership of the far more massive and with what we were able to offer actors for salary, that the quality of the acting come directly out ofyou r own personality is reductive for me. Now there are and-a-half-week rehearsal period and use really sketchy things to work with nationally prominent Milwaukee Repertory Theatre. How his tenure will ensemble I could maintain on our salary range was as strong as the acting certainly artists — Giorgio Strehler of the Teatro Picollo di Milano or until we get into the theater. Now that is a factor that somehow is going to differ from John Dillon's is the subject of much conjecture among theater I could attract for a finite period of time, on the merits of the project and Mnoushltine of the Theatre de Soleil — people whose individual aesthetic impact our work — for better or for worse. I would think for worse. artists and audience members. Hanreddy is known for having turned the the opportunity for an artist. So there's a different situation in Milwaukee is so specific that the entire organization is very, very bent to that. Those Madison company around in six years from an unremarkable civic organi­ with a larger company paying a liveable wage to actors. theaters exist solely to articulate that one person's vision. What we're doing Does a starting writcrwho's facing a blank piece ofpapcr have a better chance zation to one with marked artistic and box-office success. In a recent is something different. To reduce everything under the umbrella of my per­ than a writer who's got a $1 million advance on a novel? It's still a blank piece interview, Hanreddy discussed his philosophy of artistic directorship and I see the benefits of the resident company in a couple of places. One is that sonality or my aesthetic would be reductive to what the potential of the of paper. Your expectation is that the guy with the $1 million is going to write the differing challenges of the two "Rep's" — one a small company which the depth of acting in a large ensemble is increased by being able to have ex­ theater is. I try to make my own energy catalytic, in some way, and something wonderful. Well, maybe! "jobs in0 actors for its six-production season; and the other which, under traordinarily strong actors all the way through the ensemble. Attracting that empowering. his leadership, will have large resident ensemble of 12 to 15 actors to skill and experience for the sub-plot of a play is very difficult on a show-by- Do you think you could articulate your vision of the role of theater? produce a staggering season of 17 plays. show basis. I have heard that here in Madison, you invite your entire staff, including secretaries, to rehearsals. Is that true? Well, for me, working on a play teaches me how to fivem y life. And you share Art Muscle: What about the artistic risks of an ensemble repertory You mean in the less central roles? that with people. But the curiosity and the quest and the delving into ma­ company? I know the financial security it offers actors is rare and won­ We do try to get everybody involved. We get everybody together six times terial is always personal. And that's what I hope is the experience of the derful — so is the opportunity to work with the same people over an Um-hm. I also think in the past, Milwaukee Rep has benefitted by having a year on a Sunday afternoon during the second week of rehearsals. For us audience seeing the play. Their reaction to the work is unique and personal extended period of time. But what about the tendency of that security ongoing relationships with artists in long-term projects, which came to it's been a time when energy changes from the show that's running to the to them; what drove the decisions to shape the work are specific to me. But to tip over into complacency—breeding indulgent art. How will you fruition two or three years down the line. show that's coming up. It's when everybody embraces the new show and I hope that in trying to interpret and communicate the work something try to prevent that? actors get some responses. Part of all of that is to de-mystify the process of universal is generated. If you look historically, there is no great theater company that's created putting together a play. It's kind of hard work, it's got a certain structure to Hanreddy: One of the things we try to make clear to the company, to the work that has endured that'sjobbed-in actors—ever, anywhere! Shakespeare, it, and it's not nearly as mysterious as the non-artists of the company are led There's a sort of famous quote is that if you try to let a play speak for itself, Board and to the entire organization, is that the only reason we would Moliere, Chekhov, Comedie Francaise. to believe. It ties everyone together as workmen with different tasks. k*s very likely to be silent. But it's a very delicate process, unleashing the maintain a resident acting company is because we thought we'd make the potential of that energy and that's why particularly Shakespeare thrives on work better. The ideas of stability of employment and making the situation Of course, they were also writing their own scripts. The way that would happen in Milwaukee, obviously, is different. We're ambiguity. better for the actors is not the driving reason we do it. We're doing it because probably not going to have 150 people watch every two weeks. it results in better art somehow. If you felt the work was going to be better Exactly, sure. The exploration is to get in touch with whatever the artist's impulse was in by jobbing in actors, then you probably should do that. In fact, I did feel Sometimes when organizations like the Milwaukee Rep get really big writing the play — to clearly articulate ambiguity. Tensive ambiguity is and theaters have enormous budgets, there's the perception that they something I'm looking for a lot. LEN CALENDAR Knodel is Head of the Fiber Department at Cranbrook Academy of Art. Arts Organizations: His diverse accomplishments Please add Art Muscle to your mailing lists. Include dates, times single ticket price, have taken him and his work location & phone number. Submit calendar listings for May/June in writing on or before May 7, 1992 to Art Muscle Calendar Mllll P.O. Box 93219 LtlC, Milwaukee, WI 53203 slic sites. Unless otherwise noted, all phone numbers are area code 414. Knodel will use fiber to transforrrr^te^^^^^^^: hewn gallery into a place of elegance r\ IH t Now-April 28 Jack Anderson & Phil Austin, watercolors May 2-June 16 es*fh4i^^e€^c%^fw^ Now-April 9 19th Annual Salon of School Art using luxury fabrics and varied textures. Painted Surfaces Selected work by Door County high school This exhibit is funded by Jean Stamsta, new works; students; reception May 2 2-3:30pm; Miller Miller Brewing Company April 16-June 5 Art Center, 107 S Fourth Ave, Sturgeon Bay; Shapes of Color II 743-6578 Walker's Point Center for the Arts Works in a variety of media; Katie Gingrass 911 West National Avenue ~ Milwaukee, WI 53204 Gallery, 241 N Broadway; 289-0855 Now-April 30 414/672-2787 Lois Chicks, Ammar Tate, Robert L Cisneros & Now-April 12 a collection of Peruvian paintings; Deborah Zlotsky May 6-July 2 Lakeland College: Bradley Gallery, Sheboygan Emerging Latino Artists Armando Hguiro, Rozalie Hernandez, Belia Now-April 13 Radke & others; Annual Juried Student Art Show Centro de la Comunidad Unida, 1028 S 9th; April 19-May 7 384-3100 Junior & Senior Exhibition UW-Whitewaten Crossman Gallery, 800 W Now-April 30 Main, Whitewater; 472-5708 20th Annual Student Exhibition May 5-14 & May 20-29 Now-April 17 Senior Exhibitions I & II Guardians of the Magic: Receptions May 5 & 20 507pm; UW-Green Works by Evelyn Patricia Terry & Muneer Bay: Lawlon Gallery, 2420 Nicolet, Green CONTEMPORARY WOMEN'S APPAREL^ B M Bahauddeen; also Fine Contemporary Prints; Bay; 465-2489 Mayl6-Julyl0 I Fourth Annual Remarkable Women Show Now-April 30 Reception May 16 3-5:30pm; Peltz Gallery, Gerhardt Knodel, Fiber Installation; also 1119 EKnapp; 224-4278 Joyce Marquess Carey, sewn wall pieces; Walker's Point Center for the Arts, 911 W Now-April 17 National; 672-2787 A Touch of Contemporary Folk Art Artists from the US & Nigeria; Now-April 30 M VWnett April 30-June 11 Ways with Watercolor Conventional & Unconventional Vessels Donna Elliott LOEHMANN'S PLAZA PAVILION AT MEQUON Juried, national exhibition; A Houberbocken, Milwaukee Athletic Clubjobby, 758 N Broad­ Inc, 230 W Wells, Suite 202; 276-6002 way CALHOUN & BLUEMOUND PORT WASHINGTON & MEQUON RD. BROOKFIELD 782-9530 MEQUON 241-5553 Now-April 17 Now-May 2 Hopi, Navajo & Mexican Crafts & Southwest­ Made in the Midwest: Walter Hamad/s Stu­ ern Prints; Seebeck Gallery,5601 6th Ave, dents, Kenosha; 657-7172 the 6451 Press & its Influence on the Small Press Movement; also The Institute for Movement Studies Gain an introduction to the Now-April 24 Outer Skin/Inner Space: Recent American directed by Frank Wildman, Ph.D. Feldenkrais Method at our two- Lygia Angel, Camille Brighten, Heidi Kiester & Baskets; also Cynthia Zuknik; senior art students; Alverno presents two day workshop for artists, Joan Backes: Rocks, Markets, Places also College Art Gallery, 3401 S 39th; 382-6149 Racine Art Guild Spring Competition dancers, musicians and May 9-30 FELDENKRAIS® performers of all disciplines. Now-April 24 Racine Unified Schools Student Exhibition PROFESSIONAL TRAINING PROGRAMS May 15-16, '93, River Falls, WI 10x10 III: Wisconsin Potters Invitational Wustum Museum, 2519 Northwestern, Racine; Functional stoneware & porcelain pottery; 636-9177 beginning in Marnie Pottery, 2711 N Bremen; 374-POTS Minneapolis, MN July 1993 Now-May 2 Now-April 25 Laurie Hogin Young at Art/Youth Art Month Exhibition A combinatin of the traditional "after the hunt* • CREATE a more intelligent body. Now-May 16 still life with contemporary ecological critique; • DEVELOP a more muscular intellect. Fables & Fantasies, The Art of Felix Lorioux; Now-May 9 also From Found Objects to Fine Art: A Crea­ • EXPANP your career possibilities. Industry: The Ceramic Work of Ann Agee tive Metamorphosis; Paul Bobrowitz; reception Murals, plates & bathroom fixtures; JM Kohler • ENJOY a more flexible, supple and coordinated body. Apr 4 1:30-4pm; Arts Center, 608 New York, Sheboygan; 458- • LEARN new possibilities of thinking, moving and feeling. May 19-June 13 6144 Watercolor Selections from the Neville Public Museum (Green Bay); reception May 23 1:30- The Institute for Movement Studies is the major organization training Feldenkrais practitio­ Now-May 3 4pm; West Bend Gallery of Fine Arts, 300 S ners in the United States and abroad. These training are Feldenkrais Guild® certified and Sherman Groenke: The First Sixty Years 6th, West Bend, 334-9638 Anderson Arts Center, 121 66th Street, Ke­ consist of 40 days of training per year for 3+ years. nosha; 653-0481 FOR INFORMATION CALL OR WRITE: 1-600-342-3424 Now-April 28 Schomer Lichtner, paintings & sculpture Now-May 9 The Institute for Movement Studies, 1632 Second Street, Berkeley, CA 94710 Caron Rowan, pastels League of Milwaukee Artists The Bradley Galleries, 2639 N Downer; 332- Juried show; reception Apr 4 1 -4pm; Charles 9500 Allis Art Museum, 1630 E Royall; 547-6054 COME TO RACINE'S LAKEFRONT JUNE 12 & 13 fairs lake 30th ANNUAL MONUMENT SQUARE ART FAIR DON'T MISS THIS NATIONAL JURIED FINE ART FAIR FEATURING OVER 140 ARTISTS PASTA • SATURDAY AND SUNDAY JUNE12&13/10am-5pm • RACINE'S FESTIVAL PARK 5th STREET AT THE LAKEFRONT • 1-94 TO HWY 20, EXIT 333 r& * 1340 W. TOWNE SQ. RD. EAST TO LAKE MICHIGAN \y^ MEQUON, WI 53092 NANCY MONSEBROTEN • FREE ADMISSION 241-9589 ONALASKA, WI PO BOX 085656 • RACINE, WI 53408-5656 • 1-800-C-RACINE Mua«£ Now-May 9 prints, paper fans & parasols; Hearthstone A C Art Association Historic House, Appleton Continuing trough May 8th: "Guardians of the Magic" Former Allis-Chalmers employees; April 1 -May 31 Wordflow: In Water, artists in Works by Evelyn Patricia Terry & Muneer Bahauddeen May 16-June 20 residency project with Kathleen Fenner & Embarrassing Moments Thomas Grade; Outagamie Museum, Apple- plus: Fine Contemporary Prints Ten figures by paper artist Nancy Steinmeyer; ton; info 725-8787 workshop May 16 3:30pm; lecture June 27 3:30pm; St John's Uihlein-Peters Gallery, 1840 April 2-22 N Prospect; 291-4993 Barn Burner Work by the Barn Storm Arts Group; reception Now-May 9 Apr 2 7-9:30pm; poetry Apr 8 7pm; Tiffany to Ben Tre: A Century of Glass April 27-May 13 Now-April 25 Annual Juried Student Art Exhibit Andy Warhol: Works from the Permanent Reception Apr 27 7-9:30pm; UWM: Union Art Collection Gallery; 229-6310 Now-May 26 Pop! Prints from the Permanent Collection April 2-June 1 Opening May 16th 3 - 5:30 p.m. 35 color lithographs, etchings & screenprints Michel Scarpa from the 1960s to 70s Paper collages using French comics & maga­ Fourth Annual"Remarkable Women" Show April 3-June 27 zines; reception Apr 2 5-8pm; Galerie Art Works by more that 30 women artists including Deborah Dreams, Hopes & Fears: Today!, 218 N Water; 278-1211 Brown, Allison Cooke, Anne Kingsbury, Michiko Itatani, Works by Wisconsin Magic Realists April 16-June 20 April 4-28 Frances Myers, Linda Plorkia, Carol Pylant, Common Ground/Uncommon Vision: The Joanna Poehlmann Jeaneue Pasin Sloan & Evelyn Patricia Terry. Michael & Julie Hall Collection of American Book artist inspired by nature; opening recep­ PELTZ GALLERY 1119 E. Knapp St. Milwaukee, WI 53202 Folk Art tion Apr 4 2-4pm; Cardinal Stritch College: April 20-May 31 Layton Gallery, 6801 N Yates; 352-5400 (414)223-4278 11 a.m. - 4 p.m. Ives.-Sat. Wisconsin Very Special Arts Festival Works by physically challenged children & April 4-30 adults; Laurence Rathsack May 21-August 22 Opening reception Apr 4 2-4:30pm; Recent Acquisitions May 4-July 3 May 28-September 12 Gallery artists; La Galleria Del Conte, 777 N Tuesday's Troubadour Currents 22: Felix Gonzalez-Torres Jefferson; 276-7545 Site-specific installation centered around strings an open mike for musicians of light bulbs; April 4-May 16 Milwaukee Art Museum; 224-3200 Masters Thesis Exhibition I followed by featured performer Reception Apr 4 6-8pm; 8:30 PM Now-May 15 April 25-May 9 Six German Artists in the Midwest Masters Thesis Exhibition II $1.75 Point Beers Annette Nahrlich, Ingrid Hartlieb, Florian Reception Apr 25 1 -4pm; UWM Fine Arts $1.75 Rail Drinks Depenthal, Ludwid Arnold, Meisi Timm & Jess Gallery; 229-5070 Walter; Michael H Lord Gallery, 420 E Wis­ consin; 272-1007 April 9-May 4 Anne Miotke: Intimate Views/Watercolors Now-May 16 Reception Apr 16 6-9pm; Dry our beautiful, Narratives of Loss: The Displaced Body May 21-June 25 Works of seven artists who utilize grief & loss Susan Evans, porcelain figures & Dick Evans, restored, reception hall! resulting from social alienation to create both new paintings; reception May 21 5-7pm; Tory private & collective narratives; UWM Art Folliard Gallery, 233 N Milwaukee; 273-7311 Museum; 229-5070 Cafe Melange April 9-May 9 Now-May 16 Humpty-Dumpty Show 720 N. Old World 3rd 291 -9889 JMKAC Permanent Collection Mixed media celebration of new world order; lunch, dinner, tap dance & blues Selections indude works by Eugene Bon Bru- reception Apr 9 7-11 pm; Leo Feldman Galler­ enchenhein, Frank Oebser & Clarence M ies, 301 N Water; 482-3695 Powell; JM Kohler Arts Center, 608 New York, Sheboygan; 458-6144 April 9-May 23 Lawrence University Senior Art Exhibit Now-June 16 June 4-August 15 Dolls in Contemporary Art: Metaphors of Per­ Spiral Journey: A Photographic Odyssey by sonal Identity; Haggerty Museum, 13th & Linda Connor; the artist is a professor of art at Clybourn; 288-7290 PEN & INK San Francisco Art Institute; Wriston Art Center, Appleton; 832-6585 April 1-May 23 The Evolutionary Imagination of Dr Rudy Rot­ April 14-May 16 ter: An Installation BOOK A Caravaggio at the Hands of Children Found objectinstallation by self- taughtscupltor; A Study in Art & Children's Perception IN HIS NEW BOOK reception Apr 251 -4pm in honor of the artisf s Exploration of the ability of children to recall THE TECHNICAL PEN 80th birthday; Neo-Post-Now Gallery, 719 details observed in Caravaggio's The Conver­ GARY SIMMONS SHOWS YOU IN York Street, Manitowoc; 682-0337 sion of St Paul; reception Apr 14 6-8pm; UWM DETAIL HOW TO ACHIEVE THE Art History Gallery, Mitchell 154; 229-5070 April 1-May 1 WIDE VARIETY OF STROKES AND Paper Arts Festival Exhibits Aprill5-May8 " PATTERNS USING TECHNICAL April 1-30 - Paper Constructions by Sally Aletha Jones: Ceremonies & Odysseys PENS • HE EXPLAINS HOW TO Duback; AGA Center for Visual Arts, Appleton Watercolors; reception Apr 15 4:30-7:30pm; BUILD FORM "TONE -TEXTURE April 1 -30 - Papermaking as an Art Form by May 13-June 5 & COLOR IN DRAWINGS -THIS Martina White; Avenue Art, Appleton Jodi Castagnozzi: Relationships BOOK IS A MUST FOR ANYONE April 1-May 9 - Changing Patterns: Life's "Slice of life" paintings & pastels; DeLind Fine INTERESTED IN PEN & INK WORK Journey, installation by members of the Heri­ Art, 801 N Jefferson; 271-8525 tage Retirement Center; Bergstrom-Mahler 8.5X11 • 144 PAGES-SOFT BOUND -WATSON GUPTILL Museum, Neenah April 16-May 9 April 1-30 - Paper Discovery & Beyond by The Rosenblatt Family 24.95 Leigh Grube; Collector's Gallery, Oskosh Works of Adolf, Suzanne, Sarah, Eli & Joshua; April 2-30 - Handmade paper & collage by reception Apr 16 5-9pm; Gallery of Wisconsin ARTISTANDDISPLAY 9015 WEST BURLEIGH 442-9100 Diane Whipp; Hang Up Gallery, Appleton Art, 931 East Ogden; 278-8088 MWF 9-6 •TUE & THUR 9-8 PM • SAT 9-5 -SUNDAY 12-4 April 4-May 2 - Victorians Discover the Orient,

U pas5i^l:ii!ii:il^ L Milwauk Lunch-M~f-I 130-230 Sat-noon-3 Sun.8runch~/f~4 Dinner- nightly-5-ft

Major Credit Cards Accepted! 2565 North Downer Avenue / Milwaukee, WI 53211 / (414) 332 8199 Monday-Friday 11:00-7:00 / Saturday 10:00-5:00 / Sunday 12:00-5:00 124 N. Water St. 347-1962 April 16-Moy31 May 20-22 Cornelius E Erby, Jr, acrylic paintings Made in Milwaukee 'if Jeff D Shawhan, Raku vessels Wild Space Dance Company Reception Apr 16 7-9pm; Artistry Studio- 8pm; $10 & $12; Stiemke Theater, 108 E WHP A Gallery, 833 E Center Wells; 224-9490 Viiit;i<|eA|i|>;irei-\Vater Street Antique Alnrket-2inl Floor ; " -I'M.-AL' April 16-June 26 May 27 Christopher Poehlmann: Metal Furniture & Movin' Big Sculpture Roosevelt Middle School of the Arts Craig Roberts: Photographs, The Industrial 7pm; $3.50; 800 W Walnut; 263-2555 Nude Series Reception Apr 16 7-10pm; Silver Paper Gal­ May 27-29 lery, 217 N Broadway; 273-7737 Danceworks Benefit Weekend Performers & choreographers include Chris April 16-July 11 Ferris, Michael Turner & Kristi Sesso, Cate Outer Space & Inner Spaces Deicher & Peter Stathos, Ed Burgess & Wild Ron Corlyn, landscapes, geometries, illustra­ Space Dance; Th 7:30pm F,Sa 8pm; $10 (May tions & more; reception Apr 16 7-9pm; Piano 28 benefit$l 5); 727 N Milwaukee; 276-3191 Gallery, 219 N Milwaukee; 276-3525

April 17-June 6 EVENT Wildlife: The Artists View Triennial; Leigh Yawkey Woodson Art Mu­ April 2 seum, 700 N Twelfth, Wausay; 715/845- Fish Fry/Silent Auction 7010 Milwaukee Dance Theatre Mader's fish fry; auction items include art, jew­ May 3-31 elry and performance & travel tickets; 6pm; Juried Student Art Exhibition $20; 1037 Old N World Third Street; 273- Alverno College: Art & Cultures Gallery, 3401 1999 S 39th; 382-6044 April 3 May 4-June 6 Fourth Annual Part & Auction Garden Flowers Bauer Contemporary Ballet Michael Gerry, oil paintings; Boerner Botani­ Autographed movie posters, crystal, sports cal Gardens, 5879 S 92nd; 425-1130 memorabilia & more; 8pm; $8 ($1 goes to Mihv Aids Project); Hotel Wisconsin 720 N May 7-June 19 Old WoHd Third Street; 276-3180 North Carolina Glass 25 of the best studio glass artists; reception April 4 May 7 5-8pm; Art Elements Gallery Ltd, 1400 Contact Improvisation Jam W Mequon Rd; 241 -7040 Nancy Stark Smith Bring your books, LPs, cassettes or CDs to Half Price Books any time we're Foothold Dance Performance & Danceworks May 15-Jur/31 Dance experience not required; 1 -4pm; $7; open and we'll make you an offer on the spot. And while you're in our store, be New Vessels by Jeff Noska 727 N Milwaukee; 276-3191 sure to browse through our enormous selection of new and used books on every Salt & reduction-fired stoneware & porcelain; reception May 1511 am-5pm; Marnie Pottery, April 14 subject imaginable. You'll find beautiful art books, delightful children's books, 2711 -12 N Bremen; 374-7687 Terry Gross Benefit for WUWM, Milwaukee Public Radio histories, mysteries and more, all at incredibly low prices. So whether you want May 16-June 12 The hostess of NPR's Fresh Air will speak; 7pm; to sell your books or cash in on a few bargains, come in today. 52nd Annual Membership Exhibit $20; Centennial Hall, 733 N 8th; info 274- Milwaukee Area Teachers of Art 8680 Reception Mav 21 5-6:15pm; 100 East Build­ BROOKFIELD • Brookfield Fashion Center • 789-0280 ing, Main Lobby, 100 East Wisconsin info April 16 (16750 W. Bluemound Rd. • Between Calhoun and Moorland Rd.) 242-9298 Gallery Night Local galleries will fo MILWAUKEE • Plaza Plaza • 6814 W. Brown Deer Rd. • 354-1235 open all evening; in May 16-July 3 224-3200 Both stores open 9am-10pm Mon.-Sat. • 10am-6pm Sun. A Fascination with American Film Classics Movie Memorabilia from the Collection of Dale April 23-25 E Kunrz A Day in the Country Posters, stills, lobby cards & photos; reception Historic Cedarburg Folk Art Show & Sale May 16 l-4pm; Charles Allis Art Museum, Basketry, carving, toys, furniture, quilts & more; Black Biker 1630 ERoyall; 278-8295 F preview 6-9pm $3; Sa 10am-5pm Su 11 am- 5pm $2; Cedarbur Cultural Center , W62 May 21-June 19 N546 Washington Ave & Community Center, Leathers • $89.95 John Ford W63 n641 Washington Ave; info 242-3597 Site specific installation; also Jim Johnson, works of words; opening May 21 April 24 5:30-8pm; Walker's Point Center for the Arts, Fine Arts Auction chaNQiN" 911 W National; 672-1787 Northeastern Wisconsin Dance Organization May 22-June 15 benefit for NEW Dance; works on view for Scenes from Green Bay silent bids Apr 13-24; reception 7pm; auction Km tiMe/ Carolyn Barnard & Marsha Tuchscherer; re­ 9pm; Art Works Gallery, 129 S Washington, ception May 22 7:30-10:30pm; Art Works Green Bay; 433-9510 932 East Brady 2717(73 Gallery, 129 S Washington; 433-9510 May 7 m;mStt$sjM First Friday Vour Alternative Lifestyle Hors cPoeuvres, cash bar, live music by Casper BKN featuring George Stance! & gallery tours; 5:30- Clothing. Jeuielry & 8pm; $5 (members $4); Milwaukee Art Mu­ April 1-4 seum; 224-3200 Accessory Store A Night of World Premieres Milwaukee Ballet May 7 MoN-thurf 11-7 Premieres by Peter Nastos&Kathryn Posin plus Fundraiser Art Auction Alvin Aile/s The River; Th 7:30pm F,Sa 8pm Walker's Point Center for the Arts fri-/dt 11-6 Su 1:30 & 7pm; $8-$46; PAC: Uihlein Hall; Art; entertainment by Sig Snopek & Richie 273-7206 /UNCICJY i2-5 Cole; 5:30pm, auction 9pm; $5; WPCA, 911 W National; 672-2787 April 16 & 17 A Sand County Almanac June 3-6 Based on Aldo Leopold's land ethic; a blend of 1993 Midwest Weavers Conference dance, music & narration; 8pm; $10/$8; St­ University of Northern lowak, Cedar Falls, IA iemke Theater, 108 E Wells; 224-9490 50614; 319/273-6899

April 30-May 2 Danceworks '93 FILM! UWM Dance faculty perform; F Sa 8pm Su 3pm; $5; UWM Mitchell Hall Chamber The­ Now-May 5 atre, Rm 254; 229-4308 Black History Film Series Community Media Project May 6-9 Apr 7 - Countdown at Kusini Giselle Apr 14 - W C Handy & Uncle Tom's Cabin Milwaukee Ballet Apr21 -Lay My Burden Down &KuKluxKlan: Th 7:30pm F,Sa 8pm Su 1:30 & 7pm; $8-$46; The Invisible Empire UP TO 50% ON PAC: Uihlein Hall; 273-7206 Apr 28 - The Birth of a Nation May 4 - Birth of a Race; 6:30pm; free; Wiscon­ OVERSTOCKED ITEMS May 7-9 sin Black Historical Society Museum, 2620 W Thru May 29th Independent & Emerging Choreographers Center; info 229-4800 PAINTS • BRUSHES • PAINT MEDIUMS • PAPERS • GLASS STAIN & MORE! Concert; Danceworks F,Sa 8pm Su 2:30pm; $8/$6; 727 N Milwau­ April 6-May 11 EVERYDA Y DISCOUNTS of 10%-30% kee; 276-3191 PAC Cinema Series Apr 6 - Now, Voyager Arts & Crafts Retail Store May 8 Apr 13 - The Prisoner of Zenda New Work 100A E. Pleasant St. (Walnut & 1ST), Milwaukee, WI Apr 20 - A Song to Remember Student Dance/Performance Hours: M-F 8:30-6, SAT 9-5 414-264-1580 Apr 27 - Anna & the King of Siam 7:30pm; $2; Alverno College, Pitman Theatre, May 4 - Charlie's Aunt 3401 S 39th; 382-6044 May 11 - Musical Extravaganzas; W12:15pm; $1; PAC: Vogel Hall; 273-7206 April 7 12 noon; 209 E Wisconsin Apr 7 - The World of Apu (1957) Apr 3 - Douglas Love, So You Want to be a Star 7:30pm; $5/$3; UWM: Union Cinema; 229- 1 pm; 17145 W Bluemound 6971 Apr 6 - Sandra Haldeman Marlz, editor If I FOQ DENT Had My Life to Live Over I Would Pick More April 16 & 17 Daisies; 7pm; 17145 W Bluemound Loft. Apartments 914 & 5th 61 New Voices: Video from Milwaukee Youth Apr 20 - Kaye Gibbons, Charms for the Easy Historic Qenovation Project 7pm; free; 4/16 at Wise Black Historical Life; 5:30pm; 209 E Wisconsin Society Museum, 2620 W Center; 4/17 at Apr 27 - Cathie Pelletier, The Bubble Reputa­ UWM Union Cinema 2200 E Kenwood tion; 5:30pm; 209 E Wisconsin; also approx. 800-1000 sq. ft. James Cortada, TQM for Sales & Marketing April 24-May 30 Mgmnt; 7pm; Park East Hotel, 916 E State Includes: Personal Visions Apr 28 - Charles Baxter, Shadow Play • All new mechanicals Apr 24 & 25 - Calvin Black 5:30pm; 209 E Wisconsin • Large live-in work space May 1 & 2 - Howard Finster May 8 - Storytelling with Jean-Andrew & Big perfect for artists May 8 & 9 - Edgar Tolson Bear; 10am at 415 E Silver Spring; 1 pm at • New kitchens & baths May 15 & 16 - Tressa Prisbrey 17145 W Bluemound u no. May 22 & 23 - Chief Rolling Mountain Thunder May 13 - Ellen Akins, Public Life • Laundry area & parking May 29 & 30 - Minnie Evans 5:30pm; 209 E Wisconsin • Handicapped accessible Cocktails • Alternative Music 2pm; free w/admission; Milwaukee Art Mu­ May 18 - Mary Morris, A Mother's Love seum, 224-3200 7pm; 17145 W Bluemound RENT: $500.00 The Milwaukee Poetry Slam May 24 - Jon Hassler, Dear James April/May 7pm; 17145 W Bluemound every 2nd and 4th Wednesday Films Kids Like May 25 - Gerda Lerner, The Creation of For more info please call Apr 3 - Real World Adventures Feminist Consciousness; 7pm; 17145 W Walkers Point Development of the month at 8:30pm Apr 17 - Earthday Bluemound; Schwartz Bookshops; 274-8680 May 1 - Folktale Classics 645-9222 706 E. Lyon Street • 347-9972 May 15 - The Folktales Continue April 2-30 10:30am & 1 pm; free w/admission; Milwau­ The Coffee House kee Art Museum, 224-3200 Apr 2 - Poetry by Eleanor Berryk, Louisa Loveridge-Galas, Karina Schafer & Susan Rosenblatt; $2 plus 2 cans of food Lakeside Inn Cafe & Gallery Milwaukee LECTLJjat Apr 16 - Open Stage; $1 Apr 17 - Earth Day Poetry Reading; $3 Woman Hangs... Now-May 5 Apr 25 - Open Stage; $1 Narratives of Loss: The Displaced Body 8:30pm; 631 N 19th; 744-FOLK .. .and frames art work, cuts Apr 29 - Poetics of Loss: Women of Thereseien- stadt, Ruth schwertfeger; April 8 & May 31 mats, sells framing supplies Apr 30 - Impact of the Vietnam Veterans Booksigning & Presentation and works by local artists. Memorial on a Grieving Public, Levi Smith Apr 8 - Oscar Hijuelos, The Fourteen Sisters of May 5 - Indian Nations & Representations, Jim Emilio Montez O' Brien De Nomie May 31 - Isabell Allende, The Infinite Plan WORKS BY: 7pm; free; UWM: Curtin Hall, Rm 175; 229- 6:30pm signing; 7pm presentation; Centen­ Oved, Todd Groskopf, Paula Destefanis, 5070 nial Hall, 733 N 8th; 274-8680 Katherine Hetzel and others. Nestled among the glass and steel historic home featuring continetal dining April 16 & 17 April 8 Entrees from $6.00-$17.00 Common Ground/Uncommon Controversy: Michael Haley & Sheila Spargur 7 days a week / 8am to midnight Perspectives on American Folk Art Poetry reading; 7pm; free; UWM: Union Art 2-day symposium of panelists discuss interpre­ Gallery; 229-6310 • HISTORIC HUTCHINSON HOUSE tive stances relevant to American & folk art; F Aprill9&May 17 SUITE RENTALS- 9am-4:15pm Sa 9am-l2:30pm; Milwaukee SHORT OR LONG TERM Art Museum; 224-3200 Book discussions with Jo McReynolds- FRAME AND SUPPLY Blochowiak • GAIA TRADITIONS GALLERY Quality. Selection • Affordability April 17 Apr 19 - Katherine Anne Porter by Joan Givner Trip to Kohler Arts Center May 17-Kissinger by Walter Isaacson; 1 lam; 800 E. Wells Ave. / 800 N. Cass St. 828 E. LOCUST STREET-MILWAUKEE, WI 53212-374 • 9494 Excursion to view Wisconsin Tales: The Pre­ free; East Library, 1910 E North 276-1577 MON: (by appointment only)-VNf. 11-6-TH: 11-8-SAT:11-5 mier of a Permanent Collection; includes lunch Mention this ad for $10.00 off purchases of $60.00 or more. at a log cabin restaurant, tour, tour, lecture & April 24 discussion; $35; (if you drive $25); info 224- Peter Straub 3200 The author will read from & sign copies of The Throat;12noon; Audubon Court Books, 383 April 17 W Brown Deer; 351-9140 HECTOR'S The Okeefenokee Swamp & Gulf of Mexico Photographer Slide Presentation/Lecture; Si­ May 14 & 15 Lunch • Dinner erra Club photographers; some work will be Carolyn Forche for sale; 1 -4pm; UWM Physics Bldg - Rm 137; May 14 - Against Forgetting: 10th Century 442-3649 Poetry of Witness; lecture; 8pm; free; Wood­ land Pattern, 720 E Locust April 20, May 1-18 May 15 - Using Poetry to Explore Social Issues; The Michael & Julie Hall Collection of Ameri­ 1 pm; $5; Ramada Inn, 633 W Michigan; can Folk Art May 1 5 - Poetry reading 8pm; $5; MIAD, 273 Apr 20 - Gallery Talk/Tour with Russel Bow­ E Erie; 263-5001 man; 1:30pm May 1-30- Informal tour of exhibition, Sa Contemporary Jazz by Sidestreet 11 am Su 1 pm; Thursdays 9:30—Midnight May 18 - Gallery Talk/Tour with Julia Guern­ sey, project coordinator; Milwaukee Art Mu­ Saturdays Blues Brunch Sundays seum; 224-3200 Music on KK Series Casper -Featuring Apr 3 - Jerry Johnson, organist George Stancell April 30-May 31 Apr 10 - Siobhan McGuire, pianist & Simone Brunch: 11:00—3:00 GPohl Pietro Cussino; Blues: 1:30—4:30 Paintings, photography & sculpture; reception Apr 17 - Molly Keenan, pianist Apr 30 6:30-9pm; Blatz Gallery, 270 E High­ Apr 24 - Veronika Quartet 7118 West State Street land May 1 - Doris Labrasca, singer & Mike Miller, pianist Wauwatosa, WI 53213 May 4 May 8 - Pat Kasprzak, pianist & Victor Rom­ 414-258-5600 Tiffany to Ben Tre ero, tenor Gallery talk by guest curators Joan Barnett & May 15 - Kendra Kreutz, pianist with Quartet Audrey Mann; 1:30pm; free w/admission; May 22 - TBA Milwaukee Art Museum; 224-3200 May 29 - Holly Haegic, flute & Eileen Beamish, The pianist; 3pm; free; 2685 S Kinnickinnic; 744- Art Pottery May 22 8866 Bus Trip: Ethnic Odyssey Alexander A Art Class A day in the northside ethnic communities of April 2 Chicago; 8am-5:30pm; Wustum Museum, Majid Kiani 2519 Northwestern, Racine; 636-9177 Iranian master of the santour (similar to ham­ Technique R Vintage Clothin* mered dulcimer); 7:30pm; $13/$ 10; UWM: May 27 Fine Arts Recital Hall; 238-1950 Art Deco Duncan Phyphe Lecture by Debby Waters; 7pm; free w/admis­ April 2 Aodern, Funky, 50 s sion; Milwaukee Art Museum; 224-3200 Doc Watson "Tools to Thrive" Bluegrass folk artist; 8pm; $17 & $20; Pabst Theater, 144 E Wells; 229-4308 1 Natural & Healthy Methods U "fftAUPE Prevent and Relieve Pain April 2-4 & 16-18 Mondays Street Scene Enhance Performance Poefs Monday Kurt Weill f CASTSIDCR Open mike & featured acts; 8:30pm; Cafe UWM Sprin Opera Production Private Lessons, Seminars, Distinctive Collectibles Melange, 720 Old World Third; 291-9889 F,Sa 8pm Su 2:30pm; $6/$4; UWM: Fine Arts Studio Theatre; 229-4308 Workshops, and 926 E. Center Wednesdays Lecture-Demonstrations f Poetry April 3 562-2711 8:30pm; Y Not II, 706 E Lyon; 347-9972 Marian Mcpartland & Lynne Arriale M.S. Kinesiology/Alexander Certified Artist Series at the Pabst !i Tues. thru Sat. 12-5 Cathy Kaiser (414)332-0335 April 1-May 25 Jazz pianists; 8pm; $14-$24; Pabst Theater, A Apr 1 - John Sanford, Winter Prey 144 E Wells; 278-3663 April 3 April 24 May 2 Milwaukee Civic Concert Band Los Folkloristas Julia Butrick, Violin Selections include Grainger's Lincolnshire Posy Music from Mexico City; 7pm; $4 & $6; Centra Senior recital; 3pm; Alverno Col lege: Alphonsa & Ticheli's Cajun Folk Songs; 3pm; $5/$2; de la Communidad Unida, 1028 S 9th; 384- Hall, 3401 S 39th; 382-6044 PAC: Vogel Hall; 273-7206 3100 C I a J May 2 April 3-24 April 25 Marlys Greinke, mezzo sporano Bach Among the Books UWM Greater Milwaukee Youth Wind En­ Milton Peckarsky, piano Apr 3 - Peter Baime, flamenco guitar sembles Brahms: Die Schoene Magelone; 7:30pm; free; Apr 10 - Don Linke, guitar Thomas Dvorak, conductor; 3pm; $6/$3; PAC: Piano Gallery, 219 N Milwaukee Apr 17 - Sotto Voce, Dave Kenney, hammered Uihlein Hall; 229-4308 dulcimer & Tena Hess, flute May 2-4 Apr 24 - George Lindquist, classical guitar April 25 Encounters 20/21 7pm; free; Audubon Court Books, 383 W Fine Arts Quartet Pavel Burda & Robert Porter, directors; Su 2pm Brown Deer; 351-9140 Shotakovich, Beethoven & Dvorak; 3pm; $12/ Tu 8pm; free; UWM: Fine Arts Recital Hall; $6; UWM: Fine Arts Recital Hall; 229-4308 229-4308 Gallery 218 April 3-30 a cooperative The Coffee House April 25 May 3 Apr 3 - Third Vision; $3 Milwaukee Civic Symphony Orchestra Milwaukee Chamber Orchestra Apr 16 - Open Stage; $1 Music of Richard Strauss & Borodin; 3pm; Ursula Oppens, pianist Apr 23 - Tom Paxton; $12 ($10 advance) $7.50/$6; MATC: Cooley Auditorium, 1015 Beethoven: Second Piano Concerto; 7:30pm; Apr 24 - Brett Kemnitz & Patty Stevenson; $3 N 6th; 963-0196 $15; PAC: Vogel Hall; 273-7206 Apr 25 - Open Stage Apr 30 - Jon Svetkey; $3 April 25 May 4 8:30pm; 631 N 19th; 744-FOLK Melvyn Tan & The New Mozart Ensemble Northern Lights Chamber Winds Historical Keyboard Society 12:30pm; free; UWM Union Art Gallery April 4 7pm; keyboard conversation 6:15pm; $7.50- UWM Wind Ensemble/Symphony Band $18; PAC: Vogel Hall; 273-7206 May 5 2nd Anniversary Party Thomas Dvorak, conductor; 8pm; $6/$3; PAC: Northern Lights Chamber Winds, Veronika Vogel Hall; 229-4308 April 25 String Quartet & Ovidiu Marinescu, cellist Robert Moeling, piano 8pm; $4/$2; UWM: Recital Hall; 229-4308 May 7th 7:00-10:00pm April 4 Library benefit recital; 3pm; $10/$7; Wiscon­ [414I-277-78QQ Paul Kramer, oboist & Friends sin Conservatory of Music, 1584 N Prospect; May 7 218 S. 2nd St. • Milwaukee, WI 53204 3pm; free; UWM: Fine Arts Recital Hall 276-5760 Alverno Chorus 7pm; $2; Alverno College: Alphonsa Hall, April 6 April 25 & May 23 3401 S 39th; 382-6044 Ovidium Marinescu, Cellist Cathedral of St John Fine Arts Series 12:30pm; free; UWM: Union Art Gallery Apr 25 - Bel Canto Choral Artists, featuring the May 7 Durufle Requiem Eva Legene April 7 May 23 - Dr James Kosnik, organist Early Music Now Alverno Choirs Spring Concert 3pm; $7/$4; 812 N Jackson; 2224-0250 Dutch recorder soloist; 8pm (lecture 7:15pm); Cornelius E. Erby 7pm; $2; Alverno College: Alphonsa Hall, $15; Centennial Hall, 733 N 8th; 225-3113 Acrylic paintings 3401 S 39th; 382-6044 April 26 of urban landscapes Music Ensembles: 2 Plus May 7 & 8 JefTD. Schawan April 8-10 7pm; free will offering; Alverno College: Al­ Made in America Raku Vessels Milwaukee Synphony Orchestra phonsa Hall; 3401 S 39th; 382-6044 Milwaukee Choristers John Nelson, guest conductor 60th anniversary concert; premier of Milwau­ 1 Opening Reception: / Showing Milwaukee Symphony Chorus April 26 & May 16 kee native Earl George's Songs of Innocence; I April 16, 7pm-9pm / until May 31 | 833 E. Center St. Milwaukee WI 53212 Bach: Bass in B Minor; Th 7:30pm F,Sa 8pm; MacDowell Club of Milwaukee F Sa 8pm; $7; Marquette University, Weasler 1 414-372-3372 T-F 2-5; S 11-5 $12.50-$44; PAC: Uihlein Hall; 273-7206 Apr 26 - Nature in Music; 10:30am Auditorium; 355-8030 May 16 - Scholarship Reception; 23:30pm; April 12 Women's Club, 813 E Kilbourn; 423-0977 May 9 Dileep Gangoli Metropolitan Opera Auditions 1992 District ART COLLECTION Present Music Recital Series April 27 Finalist; 2:30pm; free; Villa Terrace, 2220 N Works by Joan Miro. Marc Chagall, Music of Bernstein, Creston, Bartok & UWM Music-With-Precussion Ensemble Terrace Henri Matisse, Alfredo Mullen Raimi';8pm; $10; Piano Gallery, 219 N Mil­ Pavel Burda, conductor; 12:30pm; free; UWM Raphael Soyer, and Joseph Tomanek. waukee; 271-0711 Union Art Gallery May 13 very reasonable prices. Call for photos or an appointment at Spring Music Concert 414-235-9090 or 414-223-8170 April 15-17 April 27 Roosevelt Middle School of the Arts Milwaukee Symphony Orchestra Wind Soloists of The Chamber Orchestra of 7pm; $2; 800 W Walnut; 263-2555 Zdenek Macal, conductor Europe Musicof Mozart; Th 7:30pm F,Sa 8pm; $12.50- Artist Series at the Pabst; 8pm; $14-$24; Pabst May 13-15 form follows function $44; PAC: Uihlein Hall; 273-7206 Theater, 144 E Wells; 278-3663 Milwaukee Symphony Orchestra Philippe Entramonr, guest conductor & pianist April 17 April 28 Music of Beethoven; F,Sa 8pm Su 7:30pm; Turtle Island Jazz String Quartet A Chopin Showcase $12.50-$44; PAC: Uihlein Hall; 273-7206 Jazz, blues & original music; 8pm; $15 & $18; Keyboard Conversations with Jeffrey Siegel Pabst Theater, 144 E Wells; 229-4308 7:30pm; $20; PAC: Vogel Hall; 273-7206 May 28 Present Music Season Finale April 17 April 28-30 Premiers by Kamran Ince & Michael Torke; Schooner Fare Soundscaping: An Informal Program of Ex­ reception follows concert; 8pm; $15; Milwau­ 10x10" Yankee folk music; benefit for Safe House for perimental Music Composition kee Art Museum; 271 -0711 A Wisconsin Potters Invitational Abused & Negleted Children; 8pm; $12; Gregoria Karides Suchy, director; W 8:30pm Through May 8 American Serb Hall, 5101 W Oklahoma; May 29 & 30 332-8521 F 12:30pm; free; UWM: Recital Halt- Milwaukee Symphony Orchestra April 29 Lukas Foss, conductor JEFFNOSKA April 18 Concordia Jazz Ensemble Prokofiev & Tchaikovsky; Sa 8pm Su 7:30pm; An Evening of Unjustly Neglected Master­ Dr Louis A Mechaca, conductor $12.50-$44; PAC: Uihlein Hall; 273-7206 Opening Sat, May 15: 11-5 pieces of the Romantic Era; 3pm; $12/$6; 7:30pm; free; Concordia University, 12800 N Through July 31 UWM: Fine Arts Recital Hall; 229-4308 Lake Shore Dr, Mequon; 243-5700 PERFORMANCE AR 2711 N. Bremen Open: April 18 April 30 Milw, WI 53212 Tues-Fri 2-6 Milwaukee Symphony Kinderkonzert Alverno Orchestra Concert April 1, May 6 374-POTS (7687) Saturday 11-5 Neal Gittleman, conductor 7pm; $2.50 ($2 advance); Alverno College: Mad Hatter Performance Series The Family of Music; 1:30 & 3:30pm; $6-$8 Pitman Theater, 3401 S 39th; 382-6044 Joseph Rabensdorf of Foothold Dance Collec­ adult, $4.50-$6.50 child; PAC: Uihlein Hall; tive & guests present performance art, poetry, High Quality Artists* JPapier 273-7206 April 30-May 2 dance & music; 7pm; donation appreciated; Great Ibices andSizes Available Pops On Broadway Lincoln Center for the Arts, 820 E Knapp, room Acid Free -^-8.0-300 lb, weight April 18 Milwaukee Symphony, Chorus & Soloists 110; 276-2243 Michael Nicolella, guitar Neal Gittleman, conductor Katherine KingStutfib 2:30pm; free; Villa Terrace, 2222 N Terrace F,Sa 8pm Su 7:30pm; $13.50-$46; PAC: April 9 276-7644 or:276-^779 "'; Uihlein Hall; 273-7206 Mo Meyer: Humpty Dumpty April 18 9pm; Leo Feldman Galleries, 301 N Water; Concordia Wind Ensemble April 30 & May 2 482-3695 Dr Louis A Menchaca, conductor Concord Chamber Orchestra 3:30pm; $3; Concordia University Chapel, World premier by Milwaukee native Geoffrey May 21 & 22 LINCOLN ART POTTERY 12800 N Lake Shore Dr, Mequon; 243-5700 Gordon & music of Bach & Cacioppo; $8; F Not I: Gareth Hendee 8pm at Memorial Lutheran Church, 7701 N 8pm; Walker's Point Center for the Arts; 672- April 22 & 24 Green Bay; Su 3pm at St Paul's Episcopal 2787 Milwaukee Symphony Orchestra Church, 914 E Knapp; 278-8572 Zdenek Macal, conductor Mahler; Symphony No 9; Th 11 am Sa 8pm; May 1 THEAT5R E $12.50-$44; PAC: Uihlein Hall; 273-7206 Mahlathini & the Mahotella Queens Creators of the Soulh African "sound;* 8pm; Now-April 4 April 23 $10-$18; Alverno College, Pitman Theater, Incommunicado Scott Johnson 3401 S 39th; 382-6044 Tom Dulack Present Music Next Act Theatre; Examination of Ezra Pound 8pm; $10.50/$7.50; Shank Hall, 1434 N May 2 as he awaited trial for treason; Th, F 8pm Sa 5 Farwell; 271-0711 Piano Capers & 9pm Su 2pm; $14 & $16; Stiemke Theater, Civic Music Association Sunday Serenade 108 E Wells; 224-9490 April 24 1 pm; free; Mitchell Park Domes UWM Symphony Orchestra Now-April 4 Winners of 1993 concerto competition; 8pm; May 2 Nothing But the Truth $7.50/$4; Pabst Theater, 144 E Wells; 229- UWM University Band/Jazz Ensemble Milwaukee Youth Theatre 4308 John BleuelCurt Hanrahan, conductors; Documentary examination of respect, freedom 7:30pm; $6/$3; UWM: Union Wsconsin & patriotism; Th-Sa 7pm Su 2pm; $5; 2479 S Room; 229-4308 Kinnickinnic; 769-6226 Now-April 11 May 5-30 A Raisin in trie Sun The Jewel Box Lorraine Hansberry Paul Griffiths with the music of Mozart Milwaukee Repertory Theater; Tu WSu 7:30pm, Skylight Opera Theatre; A composer gets / i f i e d / Th F 8pm, Sa 5 & 9pm; $5-$22 Powerhouse trapped in the fantasy world of the opera he is Theater, 108 E Wells; 224-9490 writing; W Su 2 & 7:30pm, Th 7:30pm, F Sa 8pm; $19-30; 813 N Jefferson; 271-9580 Now-April 11 Into the Woods May 7-8 Skylight Opera Rosario's Barrio Intertwining fairy tales; W Su 2 & 7:30pm, Th El Teatro de la Esperanza 7:30pm, F Sa 8pm; $19-30; 813 N Jefferson; Rosario's adventures in make-believe-land; TRES CULTURAS FEATURE kruqTh scREENpUy SEEkiisq iNdspENciENT 271-9580 F,Sa 8pm; $4 & $6; Centra de la Communidad THREE CULTURES RIM OR vidEO pRoducrioN, siudENT diRECTOR, Unida, 1028 S 9th; 384-3100 Now-April 18 AqENT, INVESTOR, OR ANYONE wirli TAIENT ANd An Irish Reunion May 7-9 RESOURCES TO qET A UARkly COMJC fANTASy MAdE. Edward Morgan Fiddler on the Roof Milwaukee Repertory Theater Milwaukee Opera Company CAI145?-4520 3 Irish Americans share music & stories; W Su F,Sa 8pm Su 2:30pm; $14/$l 2; PAC: Vogel 7:30pm, Th F 8pm, Sa 5 & 9pm; $7.50-$l 0; Hall; 273-7206 Lois Chicks, Ammar Tate, Stackner Cabaret, 108 E Wells; 224-9490 Robert L. Cisneros SERVICES May 7-16 Collection of Peruvian Paintings April 1 & 2 Assassins March 4 - April 30, 1993 Little Luncheonette of Terror Stephen Sondheim & John Weidman Mon - Fri, lOiOOam - 4:00 pm Tim Kelly Bay View Players Opening Reception March 4th Roosevelt Middle School of the Arts Th-Sa 8pm & May 16 3pm; $6.50-$8; Bay 4:00 - 7:00pm 7pm; $3; 800 W Walnut; 263-2555 View High School, 2751 S Lenox; 273-1991 Centre de la Comunidad Unlda Plowshare Gifts United Community Center April 2-17 May 7-16 «r Gallery of the Americas Distinctive, handcrafted Educating Rita Leader of the Pack 1028 S. 9th St Willy Russell Village Playhouse of Wauwatosa 414-384-3100 gifts from our Sunset Playhouse; F 8pm Sa 6 & 9pm Su 7pm; Life & times of Ellie Greenwich, rock & roll Next exhibition: Emerging Latino Artists neighbors / > $8; 800 Elm Grove Rd; 782-4431 songwriter; F Sa 8pm, Su 2:30; %6/%5; School Opening & reception: May 14,1993 around the / / Auditorium, 9508 Watertown Plank; 744-8916 April 16-25 world. Nunsense May 7-23 Shorewood Players; F,Sa 8pm Apr 25 2pm; 70 Girls 70 $7; Shorewood Auditorium, 1701 E Capitol; Waukesha Civic Theatre; Musical celebration 301 West Main Street 332-6944 of age; F Sa 8:15pm, Su 2pm; $8.50; 506 N Waukesha, VH 531S6 Washington, Waukesha; 547-0708 NEED CASH? April 17-May 21 We buy Motorcycle Jackets, (414)547-5188 Bridge to Terabithia May 15-16 Levi Jeans, Bell-Bottoms, etc. First Stage Milwaukee; Two fifth graders create Susannah an imaginary kingdom; $6-$ 10.75; PAC: Todd Carlisle Floyd SWEET DOOMED ANGEL Wehr Theater; 273-7206 Great Lakes Opera Company; Courage in the 277-0829—By Appointment rural hills of 1 950s Tennessee; Sa 8pm Su Open 12-6pm every day April 18-May23 3pm; $12/$10; PAC: Vogel Hall; 273-7206 The Tempest Wlliam Shakespeare May 20-23 Musica Viva Milwaukee Repertory Th eater; Tu WSu 7:30pm, Broadway Bound John N. Angelos, Books Th F 8pm, Sa 5 & 9pm; $5-$22 Powerhouse Neil Simon Dealer in Antiquarian "music for all occassions" Theater, 108 E Wells; 224-9490 American Inside Theatre classical, jazz, light pop W Th 7pm, F Sa 8pm, Su 2pm; $13 & $15; and Used Books April 20-May 8 Pabst Theater, 144 E Wells; 278-3663 Dileep Gangolli 708/328-4473 Journey to the Center of the Earth We purchase interesting collections and Great American Children's Theatre Company May 21-June 5 private libraries in all fields. We especially Weekdays 10am & 12:15pm, Su May 2 1 & Out of Order wish to buy 19th/20th century Art, 3:30pm, May 8 1:30pm; $5-$l 2; Pabst Thea­ Ray Cooney Architecture, Photography books and ter, 144 E Wells; 276-4230 Sunset Playhouse; F 8pm Sa 6 & 9pm Su 7pm; other books with fine illustrations. EARWAVES $8; 800 Elm Grove Rd; 782-4431 2218 N FARWELL April 22-May 1 Before you consign to auction Falling Angels May 21-June 13 or an estate service, call: Wndfall Theatre; 2 one-acts: Icarus's Mother The Millionairess by George Bernard Shaw 475-1487 by Sam Shepard & Mulciber and Danjal by Timon of Athens by William Shakespeare Shawn M Gulyas; Th-Sa 8pm; $7; Village Milwaukee Chamber Theatre Church, 130 E Juneau; 332-3963 11 th Annual Shaw Festival; Marquette Univer­ sity: Helfaer Theater; info 276-8842 April 22-May 2 Spunk May 21-23, 25 Sales Rep Zora Neale Hurston Aiaa 2II3H.FSHWEU AVE Hansberry-Sands Theatre Company Guissepe Verdi Art Muscle Magazine has J AT WALKER.'/ Th-Sa 8pm, Apr 25 2pm, May 2 7pm; $16 & Florentine Opera; F,Sa 8pm, Su 2:30pm, Tu positions available for sales $18; PAC: Vogel Hall; 272-7529 7:30pm; $16-$75; PACl; 273-7206 reps within Metro Milwaukee SPECIAL ana the surrounding suburban TAKE YOUR RECEIPT ACROSS THE STREET April 22-May 2 area. Must be a self-motivated The Front Page i individual with media sales FOR 10% OFF Ben Hecht & Charles MacArthur IS •J experience. Automobile necessary. YOUR NEXT PURCHASE Marquette University Theatre Th,F 8pm, Sa 5 & 8:30pm, Su 2pm; $8; Mondays Send resume to: Art Muscle Magazine Helfaer Theater, 13th & Clybourn; 288-7504 Guitar Nuts P.O. Box 93219, Milwaukee, WI 53203 For guitarists & fans; Channel 14; 9pm; Warner Z2S April 23 & 24 Cable 14 & Viacom 11B; 353-5052 THE MARKET PLACE \ Student Directed One-Acts 7:30pm; Alverno College: Wehr Hall; 3401 S Mondays & Fridays Traditional Latin American 39th; 382-6044 Joy Farm Arts & Crafts Award-winning social satire series 2034 E. North Ave. 278-7338 April 23-May 23 M 9:30pm, Warner Channel 14; F 9:30, Mon. 10-5, T-F 10-8, Sat 10-5:30 The Tall & the Short of It Warner Channel 47 V^^i'^^oom^. Will Clinger & Jim FitzGerald Revue in the traditions of American vaudeville Wednesdays Store I Studio / living I Work Space & British music halls; WSu 7:30pm, Th F 8pm, Milwaukee Ballet Radio Hour 2500 sq.ft. Sa 5 & 9pm; $7.50-$l 0; Stackner Cabaret, 7pm; WFMR 98.3 FM Will Remodel to Suit Needs 108 E Wells; 224-9490 $650 mo. 265-5683 Mondays, Wednesdays, Fridays & Saturdays April 28-May 8 Where the Waters Meet Under Milk Wood Christina Zawadiwsky & Mark Mars Dylan Thomas Apr 2 - Geoffrey Holder Professional Theatre Training Program Apr 9 - Serious Humor W, Th 7:30pm F,Sa 8pm Su 2:30pm; $10 & Apr 16 -Street Talk 2 CUSTOM FRAMING $1 2; UWM Fine Arts Theatre; 229-4308 Apr - National Literary Network Tour AT AFFORDABLE PRICES Apr 30 - Valerie Christell, artist May 7 - Adolph Rosenblatt, sculptor 1668 N. Warren Ave. M-W-F 10-6 April 28-May 23 May 14 - Nancy Matz White, portals (Off Brady & Farwell) T-Th 12-7 Song at the Scaffold Milwaukee, WI 53202 Sat 12-4 Emmet Lavery May 21 - Guido Brink, artist «*3 Acacia Theatre; Story of Carmelite nuns during May 28 - Maggie Beal, live bait cic&ue~t^' the French Revolution; Th-Sa 8pm, Su 2pm; F 7pm, Warner Cable 14 & Viacom 11B, $10 & $12.50; 3300 N Sherman; 223-4996 repeated M & W 2pm; Sa 7pm City Govern­ ment Channel 26 April 30-May 30 next The Learned Ladies Sundays Art Muscle deadline Moliere Alternating Currents in 20th Century Music t/Julv Boulevard Theatre Ensemble; Battle of the sexes DJ Hal Rammel; 6:30pm; WMSE 91.7 FM updated to 20th century Texas; Th-Su 8pm; $9 issue— & $10; 2252 S Kinnickinnic; 672-6019 961 S. PARK s 608*251>5255 MADISON, WI $20//W 35 (MADISON

ART EXHIBITIONS Wisconsin DLHR May 1-31 m Elvehjem Museum of Art An Oriental Celebration: Barbara Boehm, Bmmm Now-April 6 Luanne Ehr, Barbara Knadt & Adrienne Hirsch, American Color Woodcuts: 1890s-1990s Chinese brushwork; 201 E Washington Woowm!hm April 10-June 6 Shop* Three decades of Prints by Philip Perlstein Wisconsin Union Galleries April 17-July 18 April 9-May 2 Additions to the Permanent Collection, 1989- 65th Annual Student Art Show; Juried; open to Stonewood Village • 17700 W. Capitol Dr. 1992; 800 University; 608/263-8188 all UW Madison students; recept. Apr 8 7pm; Brookfield, Wisconsin • (414) 783-7170 May 8-15 Grace Chosy Gallery Ann Stretton: Alchemy, minimalist paintings; April 2-24 - Helen Klebesadel, watercolors reception May 7 7pm; Union: 2nd floor; UW- FINE BAND INSTRUMENTS • HIGH QUALITY ACCESSORIES May 7-29 - Patrick Farrell, oil paintings; recept Madison: Union Galleries; 608/262-5969 VINTAGE INSTRUMENT SERVICE • RESTORATION May 7 6-8pm; 218 N Henry; 608/255-1211 ORIGINAL REPLACEMENT PARTS & CASES FILM LARGE SELECTION OF MOUTHPIECES Jura Silverman Gallery Now-May 6 Madison Art Center SAME DAY EMERGENCY REPAIRS Artistic Quilts, by 6 Wisconsin artists; 143 S April 2 - Possibly in Michigan & Not a Jealous Washington, Spring Green; 608/546-6211 Bone by Cecilia Condit; 7:30pm 10am to 5pm 7 days a week • till 9pm Tuesday and Thursday April 23-25 - Jim Dine: Childhood Stories; Madison Art Center F 7:30pm Sa 1 pm Su 3pm; 211 State; 608/ April 17-June 13 257-0158 Jim Dine: Drawing from the Glyptothek Drawings inspired by Greek & Roman sculp­ LECTURES ture; members opening Apr 17 6-8pm; April 1 7-May 30 Madison Art Center Young at Art; works in all media by local April 13 -Frances Myers will discuss her work; students K-l 2; 211 State; 608/257-0158 lunch/lecture 12 noon; $12 April 15 - Ann Stanke on Shining Brow, the Madison Enterprise Center opera about Frank Uoyd Wright premiering April 15-Mayl3 Apr 21; lunch/lecture 12:15pm; $12 The Art of Healing; healing from childhood April 18 - Jim Dine will discuss his work with abuse through art; reception Apr 16 5-7pm; museum director Stephen Fleischman;! :30pm; 100 S Baldwin, 3rd floor; 608/256-3374 May 7 - Fleischman on Jim Dine; 7:15pm; May 21 - Cynthia Schubert, museum educator, Survival Graphics on Jim Dine; 7:15pm; April 3-30 May 26 - Composer Talk: Michael Torke & Out Through the Walls: Expressions of Resis­ Kamran Ince; 211 State; 608/257-0158 tance by Prisoners in the US Art & poetry by political prisoners; reception THEATER Apr 3 7-10pm; video night Apr 10 8pm; 853 Williamson; 608/256-7005 Madison Repertory Theater Now-April 4 Wisconsin Academy Gallery The Recruiting Officer by George Farquhar April 1-29 April 16-May 9 The Images of Frank Lloyd Wright ;Pedro Our Country's Good by T Wertenbaker Guerrero, photographs; recept. Apr 22 5-8pm Based on the true story of the first play ever May 1-31 staged in the penal colony of Australia in Nancy Mladenoff, paint on fabric; recept. May 1789: The Recruiting Officer; WTh Su 7:30pm, 7 5-8pm; 1922 University; 608/263-1692 F 8pm, Sa 5 & 8:30pm; $14.50 & $17.50; 211 State; 608/256-0029

**5*%v JIM DINE LATIN AMERICAN MASTERS: DRAWING

FROM THE GLYPTOTHEK "OF FORM, MYTH & MAGICml

APRIL 17

through

JUNE 13, 1993 LEONORA CARRINGTON...... an exhibition of their work

AT THE Opening: Friday, April 23, 7-9pm MADISON ART

CENTER

211 STATE ST. 608.257.0158 santa fe galleries 2608 monroe st.

Jim Dine, Glyptotek Drawings (one image from a work comprised of forty drawings), 1987-1988, f madison, wi charcoal and chalk on Mylar, 22"xl0'h", courtesy The Pace Gallery, New York

Jim Dine: Drawing from the Glyptothek was organized by the Madison Art Center, Wisconsin. 608-233-4223 Major funding for the exhibition has been provided by Nicolet Instrument Corporation, Rayovac Corporation, David and Paula Kraemer, Joseph and Deirdre Carton and Rick and Banana Shull. Additional support has been provided by The Art League of the Madison Art 800»336»1469 Center and a grant from the Wisconsin Arts Board with funds from the State of Wisconsin. si m CHICAGO

ART EXHIBITIONS 2x2x2, works not exceeding 2* in any By Tina Wasserman create visual puns, irony and art historical dimension; reception Apr 30 5-9pm; 514 E revision. An Art Place, Inc State, Rockford; 815/964-1743 Several Chicago curators have used the April 23-May 14 The result, in so many of the pieces, was Urban Perspectives: B Mocek, print collages; Gallery 1756 lull caused by slumping markets, govern­ .work that appeared to be intellectually 847 WJackson Blvd, 10th fir; 312/455-0407 Now-May 1 ment cutbacks and gallery closings to John Macsai, watercolors; 1757 N Sedgwick; take inventory and explore new work in strained and full of chatter. In much of the ARC Gallery 312/642-6900 the area. In doing so, several group shows work the focus of the piece was driven Now-May 1 have cropped up recently that not only too hard by a premeditated orchestration Gruen Galleries Jane Stevens, Barbara Thomas, Deborah attempt to dispel notions of regionalism of objects, displayed to make a point. Donnelley, Sonia Katz, Lisa Carswell & Tom April 2-28 Ben Whitehouse, landscape paintings; 226 W but also revitalize energy into a some­ Torluemke; 1040 W Huron; 312/733-2787 The strongest work in the show utilized Superior; 312/337-6262 what downcast community. disparate parts in an eloquently under­ Art institute of Chicago Now-April 18 Idao This is the goal of the recent sculpture stated manner while retaining enough American Photographers: Recent Acquisitions Now-May 11 show "A Sequence of Forms: Recent ellipsis to provide an opening for the Now-May 2 Muffled Ducks & the Sounds of DeFeet Sculpture by Illinois Artists" curated by viewer to investigate possible meanings Douglas Philips; found object sculpture; 2324 Helen Levitt Edward Maldonado. The show show­ rather than walk away feeling as through Now-May 7 W North; 312/235-4724 cased almost 100 pieces of 20 early- and they were privy to an in-joke. Thomas Marc Chagall: The Jewish Theater Murals Skomski's Evanescence created a display Jean Albano Gallery, Inc. mid-career Illinois sculptors at the Illinois Now-May 16 of trembling light by stacking three large An Irrational Act: Gifts of Surrealist Works on Now-April 27 Art Gallery and the Chicago Cultural Paper from the Shapiro Collection Patricia Baez, new works in glassl by Mexico Center from late January to mid-March bottles of water within two layers of steel Now-May 30 City artist; 311 W Superior; 312/440-0770 1993. In organizing an exhibit of this grid. Monica Bock's minuscule piece, On Rene Magritte; major retrospective scale, Maldonado worked to uncover a Longing, consisted of vials of body fluids April 1 -August 15 Klein Art Works group of committed sculptors who are (semen and blood) and hair displayed Now-April 24 The Moscow Avant Garde in Architecture: opting to live and work in and around within three small, ornate lead frames 1955-1991 SusanneDoremus, paintings &workson paper; making an elegant and laconic statement 400 M Morgan; 312/243-0400 Chicago rather than New York or Los May 1 -July 4 on desire. constructin the Fair: Photographsof the World's Angeles. Any style which mighthave been Columbian Exposition by C D Arnold Lill Street Gallery associated with regional tendencies such May 15-August 8 Now-April 11 as Imagism, folk or "outsider" art was As one of the strongest and most referen­ Luis Medina RandyJohnston & Jan McCeachie, recentworks avoided in favor of work which is in­ tial pieces with regard to the physical to­ May 15-August 15 in clay; 1021 W Lill; 312/477-6185 formed and produced with a broad, inter­ pography and history of the Chicago Max Klinger's A Glove region, Tom Czarnopy's sculpture Prai­ Museum of Contemporary Art national awareness. May 29-November 6 rie Elevation revealed a rich synthesis of Early Italian Paintings April 3-June 20 form, content, material and history spe­ Michigan at Adams; 312/443-3626 Hand-Painted Pop, American Art in Transition, For the most part, the work eschewed the 1955-62 silent reductiveness of minimalism ex­ cific to the place in which he is producing Artemisia Gallery 100 works, including Jim Dine, Jasper Johns, cept in instances of ironic quotation such his work. References to fossil beds, prai­ May 4-29 Roy Lichtenstein, Claes Oldenburg, Robert as Jo Hormuth's End Game, a parody of rie flora and vestiges of industrialism were Rauschenberg, Larry Rivers, James Rosenquist, Eileen Ryan, Linda Talbott, Susan Michod, Donaldjudd's endless minimalist squares, evident in his work where physical im­ Edward Bernstein & Linda Leviton; recept. May Andy Warhol, Cy Towmbly & Wayne Thie- prints and indentations of prairie grasses 7 5-8pm; 700 N Carpenter; 312/266-7323 baud; 237 E Ontario; 312/280-5161 or where sparse shapes were worked into organic forms as in Joan Livingstone's were etched onto the surface of steel pan­ els, fabricated to resemble a folding Museum of Contemporary Photography large, embryonic sculptures made from Arts Club of Chicago screen. April 28-June 23 Now-April 9 industrial felt. Liturgical & Fraternal Order Vestments 1850- Mapping: Identities; reception Feb 12 5-7pm; 1950; 109 E Ontario; 312/787-3997 600 S Michigan; 312/663-5554 The majority of work was born out of a Although Czarnopy's contribution post-minimalist, post modern framework showed a strong sense of place, the show Block Gallery N.A.M.E Gallery influenced by conceptualism, installation as a whole lacked any sense of regional Now-April 18 Reality Check direction or definition. It defined no new Codnstantin Brancusi: The Photographs Apr 10 - Social Issue TV; noon-6pm; work and an exploded (or perhaps im­ 75 vintage photographs taken 1898-1945; May 2 - Independent Social Issue Media; 4pm; ploded) formula for sculpture. Although themes, illuminated no common concerns April 27-May 4 $7; 700 N Carpenter; 312/226-0671 identified as recent sculpture, the work and offered no sense of cohesion. Though Carol Kreeger Davidson, sculpture & draw­ was primarily non-objects, made up as the show succeeded in avoiding regional ings; reception Apr 25 6:15-8pm;l 967 North­ Objects Gallery mini installations composed of compo­ parochialism, it is not clear at all that as a western U, Sheridan Rd; 708/491 -4000 April 30-May 31 nent, disparate parts and put together to whole, the show would evidence any im­ Gallery artists; reception Apr 30 5-8pm; 201 portance or relevancy outside Chicago. Carl Hammer Gallery W Superior; 312/664-6622 Now-April 24 Visceral Landscapes: Travel Without Bounda­ Oskar Friedl Gallery ries; also Tony Fitzpatrick: Now-April 28 The Big Dark: Animals at the End of the World Daniel Christmas & Florian Depenthal, paint­ April 3-May 22 ings & works on paper; 750 N Orleans, suite Michel Nedjar & European Outsiders; 200 W 302; 312/337-2466 Superior; 312/266-8512 Perimeter Gallery Catherine Edelman Gallery April 2-27 Now-April 24 Frances Myers, prints, Carol Davidson, sculp­ Joel-Peter Witkin, old & new photographs; ture & John Wickenberg, drawings; 750 N 300 W Superior; 312/266-2350 Orleans; 312/266-9473

Chicago Center for African Art Portals Ltd Now-April 17 Now-April 20 African Masks & Sculpture Robert Moore & David Pole, paintings; 230 W Harold Washington Library Center, 400 S Huron; 312/642-1066 Monica Bock,On Parting, 1 990 State; 312/747-4999 Printworks Contemporary Art Workshop Now-April 24 Chicago Cultural Center, 78 E Washington vey, K K Kozik, Mike Linz & Brian Wells; recep­ April 2-May 10 Ellen Lanyon, new drawings Betty Rymer Gallery: Now-June 2 tion May 7 8pm-midnight; 1255 S Wabash; Ron Porter & Rebecca Wolfram, paintings; April 30-May 29 Off the Shelf & Online: Book Arts; Columbus at 312/939-2222 542 W Grant; 312/472-4004 Gallery artists; 311 W Superior, Suite 105; Jackson 312/664-9407 Gallery 2: May 7-June 4 Zeus Gallery Dettaglio Gallery Graduate & exchange students group show; Now-April 19 April 2-May 30 Rockford Art Museum 1040 W Huron; 312/226-1449 Shane Swank, hand-painted furniture & T M Laura Anderson: Pilgrim Souls, acrylic & oil on Now-May 9 converse, photographs sand; 1407 N Wells; 312/943-4115 Young Artists & Youth Art Shows 1993 Stephen Solovy Fine Art April 23-May 23 May 19-August 29 April 1-30 Joseph A Ruiz II, abstract metal & wood sculp­ Ehlers Caudill Gallery Ltd Contemporary Women Artists; reception May Arshile Gorky, Brice Marden, Picasso & Sean ture, hieroglyphs; reception Apr 23 6-11 pm; Now-April 24 22 5:30-7:30pm; 815/968-ARTS Scully; 620 N Michigan; 312/664-4860 1820 W Webster, 312/384-1355 Duane Michals: Paris Stories & Other Follies April 30-June 5 Randolph Street Gallery Suburban fine Arts Center EVENTS Lynne Cohen & John Gutmann; reception Apr Now-April 10 April 2-27 30 5-7pm; 750 N Orleans; 312/642-8611 Profiles: AimeeBeaubien, Ellen Campbell, Mark Gesture & Glance, figurative work by Michiko Hayward, Andrea Schumacher, Sarah May 7-10 Itatani, Judith Kitzes, David Montgomery, Chicago International Art Exposition Eva Cohon Gallery Whipple, Victor Ochoa, Colleen Tracey & Big Marilyn Propp, Risa Sekiguchi, Jeanette Sloan F-Su noon-8pm, M noon-6pm; $10/$7; Now-April 21 Mamma; 756 N Milwaukee; 312/666-7737 & Maria Tomasula; McCormick Place West, 411 E 23rd; 312/ Barbara Kovacs, gold leaf covered sculpture April 30-May 25 787-6858 April 30-May 26 Sazama Gallery American Family, photographs; reception Apr Aaron Karp, Rita Kohen & Paul Pollaro; recep­ Now-April 24 30 6:30-8pm; 777 Central; 708/432-1888 tion Apr 30 5-7pm; 301 W Superior; 312/ Joel Feldman, woodcuts & Riva Lehrer, paint­ LECTURES 664-3669 ings; April 30-May 29 World Tattoo Gallery School of The Art Institute of Chicago April 9-May 1 Gallery Ten Bibiana Suarez, drawings; reception Apr 30 Politics & Artistic Interventions Now-April 16 5:30-8pm; 300 W Superior; 312/951 -0004 Dzine: Mitchell Canoff, indoorgraffiti &Charise Apr 7 - Andres Serrano 7th Annual Regional Exhibition Meride, photography; reception Apr 9 8pm- Apr 28 - Francesc Torres April 30-June 4 School of the Art Institute of Chicago midnight; 6pm; $3; Columbus Dr & Jackson; 312/443- J Sarff, photography & Dusty Shutt, fiber/ May 7-23 May 7-June 4 3711 mixed media; also Dept of Fashion Design Exhibition Expo Super Group Show Joseph Hasiewicz, Sr, Peter Hurley, Lucy Har- WHERE NOTHING IS LOST b y Megan Powe

"Ultimate wisdom, I have come to perceive, lies in the perception "I have no idea who they are," laughs Angelos. He has collected these that the solemnity and grandeur of the universe rise through the slow relics over decades for his own pleasure, and more recently, for the process of unification in which the diversities of existence are utilized, delight of other collectors. Having retired from teaching English at and nothing, nothing, is lost," reveals an old wise priest in John Whitefish Bay High School in 1990, Angelos was able to devote more Gardner's novel Grendel. time to his collecting passion, which first surfaced in the early '80s through an interest in James Joyce and the Lost Generation personali­ In a room filled with emblems of the past, some browned and faded, ties of 1920s Paris. Close to two hundred books by or about Joyce and others hard-bound and still glossy, John Angelos, collector, entrepre­ his compatriots fill a glassed bookcase in his home. neur and a preserver of this wisdom, quotes from Grendel and gently shuffles a stack of 19th-century portrait photographs. These bits of Now Angelos acts as a sort of clearinghouse for rare books about art, paper and glue are, in effect, how he makes sure that "nothing is lost." architecture and photography, magazines, and old photos (from por­ traits like that of "Cinderella" to more elusive daguerreotypes and "Aren't these wonderful?" he asks. And they are. A little girl with a tintypes). Through his "pickers," colleagues who scour auctions, locket and a cowlick stares shyly out of one of them. Her white, ruffled antique markets dress fades toward the bottom of the photograph, making her seem as and junk shops for if she is merely a little, glowing ghost briefly appearing within the frame. him, and through But she isn't; she sat for that picture once, probably uncomfortable and his own visits to hot, or hungry, or tired... she was once very real. book fairs in the United States and This cheerful room in Angelos' west side home is filled with hundreds Europe, Angelos of photographs. Some are in unusual hand-carved frames, others loose amasses stacks of and in albums, books about photography and old magazines. They fill these treasures. shelves, closets, boxes, drawers and the walls: on one of them, two Some he keeps, showgirls glance coyly from a couple of framed, colored eight-by-tens. others he sells. One of the photos is inscribed: "To Sid, your ^gypsy sweetheart' — Transactions take Cinderella. place through the mail; his customers are "from all over, Turn of the century family (photographer unknown) even as far away as England."

For Angelos, his enterprise succeeds as a sort of evanescent way station between the past and the present. Most of the photographs in his collection are anonymous, are what he likes to call "Americana"— revealing a cross-section of American life of about a century ago.

In the late 19th century, after photo technology allowed greater mobility, "itinerant photographers traveled from town to town in wagons, and they'd stop and take a picture of a family in front of their home, for a fee," Angelos explains. He produces one of a family stiffly posed in their new automobile, and another group carefully arranged on the front lawn, the mother standing decorously in the background, holding the newest-born. In their anonymity, these portraits magnify the weave of the fabric of real lives, more than any photo of a Teddy Roosevelt or a John D. Rockefeller would.

"I love these photos because they tell us everything about ourselves. It's a history you can't find in books," Angelos says.

Producing copious examples, Angelos can deliver a wonderful rapid- fire overview of photographic history. From the earliest forms — mirror-like daguerreotypes and the fascinating Woodburytype, which is actually a hand-made reproduction of a photo that will never fade — to the faddish phases of gemtypes (tiny portraits placed yearbook-style in small, fancy books) and the rather gloomy post-mortem photographs (yes, that's right, Uncle Ed in the coffin), Angelos weaves them all into an engrossing discourse that could seemingly (and happily) last most of a day. To these wonders he adds some more relevant facets of his assemblage: photos of Milwaukee, some over 100 years old, including a group of picture postcards depicting a turn-of-the-century factory fire. A rather morbid gesture, to send a loved one a glossy three-by-five of utter destruction, but "it's no more morbid than three movies about Amy Fisher," rejoins Angelos.

It's a sheer love of learning that has brought these treasures to this room, a passion that is ever-aware of its own richness.

"This [learning] process should be centripetal—it should circle around and narrow into a central point, a focus," he says. "But it's a paradox: there's also a centrifugal force that spins you ever outward." Result: from the Joyce collection sprang the magazines, these fueled the search for photographs, which, through the pictures of 19th-century photog­ rapher Matthew Brady, has fed his latest interest, the Civil War. And of course, the cycle will whirl onward, swelling with more discoveries along the way, nourishing the so very valuable, as John Gardner stresses, "diversities of existence."

"What really angers me is when people say T'm bored, there's nothing to do,'" Angelos concludes. "That's not true. There's all kinds of life photograph by Karl Schlei to live." ww XK SX\IVIP>L-IIMC3 CDF IS/IILAAA/VUKEE'S FINEST EETHIMIC RESTAURANTS

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Food 11-'til 1 in the morning FREE tap beer or soda with this ad, 157 S. First and purchase of any sandwich. 14 annual Chicago International Art Exposition

May 6-10, |1 993 Donnelley International Hall McCormick Place West

Join a host of galleries from 16 countries and the United States as CIAE 1993 presents a whole new roster of Who's Who in the International Art World. Don't miss it!

ADMISSION Friday, May 7 through Sunday, May 9,12:00-8:00pm Monday May 10, 12:00-6:00pm TICKETS $10.00, General Admission $7.00, Students, Senior Citizens and groups of 20 or more OPENING NIGHT Thursday, May 6. 5:30-10:00 pm. BENEFIT For more information, contact The Lakeside Group, Inc. For information concerning flight reservations and hotel accommodations, please contact Chicago International TourismTravel, Inc. PHONE 708.491.6930 FAX 708.491.0923

NAVY PIER IN 1994 A Project of The Lakeside Group, Inc. 600 N. McClurg Court, Suite 3401A, Chicago, Illinois 60611 PHONE 312.787.6858 FAX 312.787.2928