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publisher

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Perry Dinkin Ellen Checota Barbara & Jack Recht Barbara Kohl-Spiro Mary & Mark Timpany Dr. Clarence E. Kusik Tina Peterman Burton & Kate Babcock Nicholas Topping Dorothy Brehmer Karen Johnson Boyd William James Taylor Arthur & Flora Cohen Remy David & Madeleine Lubar Sidney & Elaine Friedman Mary Joe Donovan James B. Chase Nate Holman Gary T. Black Merchants Police Alarm Corp. Edna Mae Black Mary Paul Richard Warzynski Delphine & John Cannon Daniel S. Weinberg Sharon L. Winded Dori & Sam Chortek Diane & David Buck Christopher Ahmuty Julie & Richard Staniszewski Toby & Sam Recht Hexagon, piano and wind Kathryn M. Finerty Konrad Baumeister ensemble Margaret Rozga Narada Productions, Inc. Tuesday, January 16 - 7:30pm Wolfgang & Mary Schmidt Rikki Thompson, Earthscapes "six young instrumentalists Cardi Toellner Nancy Evans bursting with talent" Tim Holte/Debra Vest Leon & Carolyn Travanti - The New York Times Eric D. Steele Steven H. Hill Leipzig Chamber Orchestra Polly & Giles Daeger Arthur E. Blair & Michala Petri, recorder Richard & Julie Staniszewski Maribeth Devine Thursday, February 8 - 7:30pm Egg Stanzel Anne Wamser Ruth Kjaer & John Colt Mike Madalinski Awadagin Pratt, piano Thelma & Sheldon Friedman Michael Miklas Thursday, March 7 - 7:30pm Richard Waswo Kevin Kinney & Meg Kinney Andre Watts, piano JeffYoungers JetTMartinka & Tessa Coons with David Shifrin, cbrinet and Helen J. Kuzma Joanne Kopischke Gary Hoffman, cello Frogtown Framing Richard & Lee Carone Tuesday, April 16 - 7:30pm Ellen McCormick Martens Tony De Palma Constance A. Hoogerland Vicki Wangerin New England Piano Quartette Catherine V. Bailey Daniel J. Burbach Tuesday May 7 - 7:30pm Gwendolyn Diaz Hankin Rita Chellman Mike Judy Tim Martinez JimRaab Morton & Joyce Phillips Jordan Sensibar & Patti Donahue Bob Brae Abbey Lincoln Vicki L. Phillips Saturday, rebruary 17 - 8:00pm "...a voice shooting past nerve endings to the soul's core..." To become a FRIEND OF ART MUSCLE, send a check - Newsday for $60 which entitles you to receive Art Muscle for two years and places your name on the masthead! Benny Carter with the Chicago Jazz Ensemble Art Muscle (ISSN 1074-0546) is published bi-monthly by Art Muscle- Saturday, March 30 - 8:00pm Milwaukee, Inc., 901 W. National Ave., Milwaukee, WI 53204, (414) 672-8485. Third Class postage paid at Milwaukee, WI 53202 and Wayne Shorter additional mailing offices. Postmaster: Send address changes to Art Saturday April 20 - 8:00pm Muscle, 901W. National, Milwaukee, WI 53204. Horace Silver Septet Entire contents copyright © Art Muscle-Milwaukee, Inc. All rights ABBEY LINCOLN Saturday, Feb 17 Saturday, May 11 - 8:00pm reserved, except in reviews. Reproduction in whole or in part without 8:00pm permission is prohibited. Art Muscle is a trademark of Art Muscle- Milwaukee, Inc. Subscription rates in continental U.S.:$15 one year; elsewhere, $28 one year; back issues: $3.00. 1996 Hal Leonard Jazz Series Subscriptions call 286-8/7/ 2 Art Muscle THE BfcST JEWELPy DESIGNS XHY^t^1

21 years DESIGNING AND MAKING EINE JEWELRY

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A FLAIR FOR THE UNUSUAL MONA BERNSTEIN

NOVEMBER 22 TO ALSO STARRING DECEMBER 23, 1995 BOOK BY JOE MASTEROFF MUSIC BY JERRY BOCK Celebrate LYRICS BY SHELDON HARNICK

RICHARD HALVERSON the Arts YOU'LL LOVE THEM IN

KAY STIEFEL C-/ELEBRATE THE HOLIDAYS WITH

THIS HEART-WARMING BROADWAY

HIT FEATURING THE RETURN OF

SKYLIGHT FAVORITES PAULA CABOT

AND NORMAN MOSES. photographic exhibition by Karen Bergeron Peter Tibbs AG.IU&

original oils and acrylics by illivan Kevue Dan Clark 3VEP THE MOON Friday January 19 th In the trad if ion ot the O kg lights humble beginnings comes an original 8 PM pevue featuring C^ilbept Cx oullivan s finest music. Visit 1883 as theg look BOOK BY COLIN CABOT $2.00 drink specials, LYRICS BY W. S. GILBERT back on music theg have written together free Hors d'oeuvres MUSIC BY ARTHUR SULLIVAN ana ape given a glimpse into the tutupe. Lxpect supppise visits tpom goup tavopite JANUARY 24 TO \jy Oi o characteps.. .pephaps even Cafe Melange FEBRUARY 11, 1996 U Oglg Oapte himself! 720 Old World 3rd 291 -9889 lunch, dinner, tap dance, & blues SiMiTOMTHErTI O C^^oo friends were showcasing their work at her place which TAKESHI'S MANY FACETS GALLERY GLITTER is best described as heavenly, as draped, as stuffed, It's no secret that Chicago painter Takeshi Yamada is On a drizzly October night before the first dreaded and as thoroughly imaginative. Her highly theatrical a self-promoter. He's been known to review his own snowflakes were sighted in Milwaukee, art types scur­ "rooms" were set for the event with groupings of shows, or to urge his best friends to review them. ried about the rain sparkled streets beneath umbrel­ romantic velvet houses for fortunate felines, hand­ Comes now The Takeshi Yamada Fine Arts Newslet­ las, then snaked through gallery labyrinths to rub made frames, elegant floor cloths, and lovingly re­ ter, which is refreshing in light ofthe artists who do wet shoulders with artists and those who could have cycled and embellished furniture. Many items were nothing to promote themselves. His portrait (Himself been artists if only they weren't plumbers, salesper­ up for sale, some were not. Like the fondly remem­ in velvet beret and vest) is on the cover. On pages 2-3, sons and art dealers. The affable and popular painter bered David Rynning's prints which were grouped he thrums about his solo exhibitions (Milwaukee's Peltz Fred Stonehouse's newest works (with a much about her boudoir — a tender touch with a total ef­ Gallery carries his work). Then he touts the Yamada brighter palette) were at Dean Jensen's Gallery. Fred fect akin to dropping down the Rabbit Hole and into Fine Art product line: deckle-edged holiday cards, was more or less holed up behind the drink table, Wonderland where the line between art and life is a gold foil lined envelopes, reprints of Takeshi inter­ hiding from the swarms, chatting with fellow artist blur. If you missed Beal's on Gallery Night, look for views and Takeshi paintings on plates. Currently he's Carri Skoczek who was done up in snuggly faux fur it again on December 10th when she's hosting a holi­ screening volunteer graphic designers for future pub­ for the event. Their conversation revolved around day sale. lications. About Takeshi, no doubt. how seldom Stonehouse gets out to art openings, what with good baby-sitters being a major problem. COCK'S SAUERKRAUT He added that his show in Nashville was "hardly Spillville, Iowa is barely a TAIL bend in the road. It's a Whether you community with just like your poi­ a few buildings, but son poured they house things from shakers of Czech: a restau­ aluminum, silver, rant, a church, and cobalt blue glass, or a museum of fan­ chrome, there's tastic clocks. The plenty to dazzle both latter is a repository drinkers and collectors for the considerable at the Milwaukee Art carving skills of the Museum's witty Brothers Bily who spent long win­ Shaken, Not Stirred: ter evenings, after farm chores, Cocktail Shakers and producing monumental Modern Design exhibit, timepieces. The brothers (through January 7) Study were not self-promoters; the Century of Progress they left their entire col­ shaker. It's engraved with lection to Spillville. recipes for "Between The Down the street is the Sheets" (brandy, curacao, Czech cafe (with rooms gin, lemon), "Clover Club" upstairs for weary travel­ (gin, egg white, grenadine, lemon ers), where feasts are set juice), and "The Palm Beach" (gin, ver­ daily. Feasts including home­ mouth, grape fruit juice). Sometimes swanky made rye bread wrapped around pork tender­ swells preferred their anesthetics poured from loin so freshi t squeals, homemade pickles, home­ novelty shakers shaped like milk cans, an hour made sauerkraut, homemade cream soup, and glass (for monitoring the amount of booze put fresh coffee with refills. All for $3.95. The cafe is into one's system?), a lighthouse, and a 1926 happy to self-promote, they are even gaily blatant silverplate number shaped like a golf bag. Some of about it. They promote the church and the clock the shakers sport painted wood or bakelite handles, museum as well. worth the effort," but that aside, it's clear that Fred's some are advertisements for cigarettes, such as the career is healthy and rolling into 1996. Up the street, Kool Shaker offered as a premium for 650 coupons. And about self-promotion. Art Muscle Magazine has north on Broadway, painter Tom Hoffman's pieces West Bend, Wisconsin manufactured a 1934 Tipple been taken to task for giving over nine feature pages were at Silver Paper Gallery. Paintings of his mom (it Tumbler model in chrome plate and bakelite, throw­ in the last issue to the likes of artists Brad Killam and sold), one of a local designer, portraits of sculptor ing in a Tipple Tips recipe book for good measure. Michelle Grabner (CAR) who curated The Friendly Beth Sahagian, and a portrait of just plain Tom. Pho­ While in pre-war Soligen, Germany, artisans turned Village show at MIAD. Why, the critics queried, al­ tographer Bradley Meinz came to see his former out shakers shaped like airplanes and zeppelins. low such blatant self promotion? "Pickles," replied teacher Paul Calhoun's photographs. His cowboy- Art Muscle. The various essays were scholarly and at hatted dad was in tow, wearing red-rimmed eyeglasses And about the word "cocktail." The story goes that least one was contributed by local curator James and a glittering ear stud, all of which prompted the French and American Revolutionary War warriors, Scarborough of The Haggerty Museum of Art. It's a younger M (both of hisczrs sparkled with similar fac­ were mixing it up at the local pub by combining jewel of a museum long known for thoughtful exhi­ eted studs) to comment, "I taught my dad how to French wines with American liquor. For dinner they bitions, exhibitions far beyond the high volume of dress." Paul Druecke was sighted looking at who was were served a stolen rooster. The officers plucked "canned shows," referred to in the New Art Exam­ looking at his intricate installation, Butter, Eggs, & the tail feathers and used them to decorate their com­ iner (October 1995) article, also by Grabner and Tortillas. Druecke is a fine painter with a major work bustibles. Voila! The cocktail was born. Killam. "But," continued the critics, "wasn't the in the foyer just outside of Arc Framing Gallery in whole thing a sell-out to CAR?" Yes or no? the same building as Silver Paper. His fans yearn for A Tiffany & Company's 18 carat gold extravagance more of the same. reigns in the museum's South Gallery for those who Back in Spillville, postcards at the clock museum are dream of tea served by rich folks. If you like your 5 for $1.00. And the Brothers Bily lived well into South in Walker's Point, those who located artist glitter BIG, check out Alicia Penalba's 1972 cast resin their 80's, fueled no doubt by their lack of self-pro­ Maggie Beal's second floor loft/studio space, were and acrylic gold overlay installation in the Lubar Gal­ motion, good clean living, pork sandwiches and a welcomed by hot cider, butter cookies the size of lery. Ironically, it's a gift of Mortgage Guaranty In­ strong Catholic faith. frisbees and honey-dew melon bits. Maggie's artist surance. A piece ofthe faux rock, for sure.

6 Art Muscle GRANTS OPPORTUNITIES

World-class in Milwaukee line Dec 27. Prospectus SASE: "...we are happy to have the VISUAL ARTS Woman Made Gallery, 4646 N. THEATER opportunity to support not Rockwell, Chicago IL 60625. only a world-class Milwaukee Hotline Going for the gold institution — The Milwaukee Toll-free service for visual artists, all Don't pass this over Auditions, Shorewood Players. Last of Public Museum, but also to be media. Funding, health and safety, in­ 1996 Spertus Prize Exhibition call for the Red Hot Lovers. Readings from involved in programs that en­ surance, art communities, interna­ entries to design the Passover seder the script. Shorewood Auditorium, reg. hance children's understanding tional ops, public art, studio space, plate. $10,000 award. Deadline Jan 15. 6:30pm Nov 28-29. Info 961-0067. and interest in science," said legal and job info. 800/232-2789. Info: Spertus Museum 312/322-1747. Kenneth Krueger, Vice Presi­ Lizards Meet Humans at the Beach dent of Finance and Adminis­ Data base Mad City culture Auditions for Edward Albee's Sea­ tration for Allen-Bradley. The Wisconsin Center data base for artists Seeking artists for July 13-14 Art Fair scape. 2 men, 2 women. Jan 6-7, 1- company recently awarded the wishing to submit proposals for the on the Square. Deadline Mar 13. Info 4pm. Boulevard Theater, 2252 S K.K. museum a grant of $ 1 5,000 in mega-structure. Name, address, zip Madison Art Center, 211 State Street, 672-6019. support of hands-on and edu­ code and telephone number to Wis­ Madison, WI 53703.608/257-0158. cational projects. consin Center Public Art Program, PO Box 93867, Milwaukee, WI 53203. New Orleans Do you need assessing? They'll call you in the spring. 17th National Juried Exhibition. A residency? Deadline Dec 15. 2-D media (except VOLUNTEERS The Milwaukee Foundation, Treasure Chest photos). #10 SASE: Jane Designer, Inc. has award $10,000 to the National juried exhibition of original 555 Broadway, New Orleans, LA Danceworks Consortium of Milwaukee Pre­ custom crafted jewelry. All media, July 70118. Needs volunteers. Also audio equip­ senters. (COMP). Comprised of 26-September 6, 1996. Slide deadline ment, fax machine, copier, telephones, five performing arts presenting May 26. Prospectus SASE Gallery Ten, Nice Threads and people to build frame for their organizations, the recipients, 514 E. State St., Rockford, IL 60004. National juried show. Original wear­ mirrors. Info 481-2010. Alverno Presents, Alverno Col­ able art for both sexes. July 26-Sep 6. lege; Artist Series at the Pabst; 3-D Slide deadline May 24. Prospectus Holiday helpers Latino Arts, Inc., United Com­ Seeking artists to exhibit 3-D work SASE Gallery 10, 514 E. State St., Volunteers needed to work with kids munity Center; the Pabst The­ outdoors. Self-insured. Deadline Feb Rockford, IL 61104. and their art projects. Info: Volunteer atre, and the University of 1. Info Cheryl Stidwell Parker, West Center or 414/273-HELP.(4357) Wisconsin-Milwaukee's Great Bend Art Museum, 300 S. 6th Ave., Artist Series, will use the West Bend, WI 53095.414/334-9638. money for a six-month art's outreach and education 2" FILM & VIDEO needs assessment of commu­ National juried show of fine art and WRITING nity organizations and educa­ craft, 2" or smaller. May 24-July 5. 1996 tional institutions in Milwau­ Work due May 11. Prospectus SASE Video Festival 1996 seeking VHS- Student writers kee, Racine, Waukesha and Gallery Ten, 514 E. State St., Rock­ NTSC entries. Fee and entry form Seeking UW-Milwaukee students en­ Ozaukee counties. If you're ford, IL, 61104. with applications. Deadline Dec 15. rolled in English 350-203, 204 and an organization who wants to Info NAP Video Festival '96, PO Box 215. Fiction, poetry, and literary participate in the needs as­ Oregon 0082,173 W Main St., Kutztown, PA analysis contest. Deadline Jan 26. sessment, contact Megan Maude Kerns Art Center seeking pro­ 1930. 610/683-6440. Sponsored by Sigma Tau Delta. Info: Mathews at 414/674-8971. posals for exhibitions for 1996-98. All 961-1512 or 225-0741. E-Mail media, including installations. Dead­ Gold babby@alphal In addition, Alverno Presents line Jan 31. SASE: Exhibitions Cu­ Golden Gate awards competition. was awarded a $2,000 grant rator, 1910 E. 15th Ave., Eugene, Deadline Dec 8. Info & entry forms Warp & woof from Marshall Fields, to be OR 97403. Brian Gordon, Golden Gate Awards, Write about contemporary fiber art. used for its community out­ San Francisco International Film Fes- Abstracts of 300-500 words for reach and education pro­ April in Wisconsin tival,1521 Eddy St., San Francisco, CA 2,000 word, articles. Deadline Jan grams. Are you a school or or­ Seeking artists for April festival in 94115-4102. 415/929-5014. 15. Info Patricia Malarcher, Surface ganization interested in resi­ Stevens Point. Deadline Jan 12. Pro­ Design Journal Editorial Office, 93 dency programs? Contact spectus: Mary Lou Judy. 715/341- Ivy Lane, Englewood, NJ 07631. Shemagne O'Keefe at 414/ 0078. 201/568-1084. 382-6150. April in California PHOTOGRAPHY Moon Rabbit More assistance? Seeking artists in all media except Short fiction, poetry, non-fiction, trans­ Charitable foundation offers crafts or functional art for juried exhi­ The glass eye lations, reviews, photography and art­ assistance, expertise and con­ bition Mar 19-Apr 14 at Palm Springs Seeking entries for national juried ex­ work forjourna l of Asian Pacific Ameri­ tacts in A/V industry for new Desert Museum. Slides only. Dead­ hibition. 20 slides. Deadline Dec 31. can voices. Info: 1-800-985-6602. talents with first film project line Jan 24. Info Artists Council Ex­ One photographer awarded a solo for tv or cinema. All genres, in­ hibition, Palm Springs Desert Mu­ show in the spring OF 1996. Info Fo­ Thin Coyote cluding animation. FFI: First seum, PO Box 2288, Palm Springs, cal Point Gallery, 321 City Island Ave., Poetry, short fiction, photography or Film Foundation, Camelot Pro­ CA 92263. City Island, New York 10464. 718/ black and white artwork. SASE: Thin duction Studios, 222 Kensal 885-1403. Coyote, 1721 James Ave., St. Paul, Rd., London W10 5BN, En­ Anytime in DC MN 55105. gland. Seeking artists, all media, all sizes. Silver Ongoing. Slides shown to ambassa­ 10th annual membership exhibit. Pig Iron press Are you diverse? dors and/or retained in slide regis­ Deadline Dec 22. Info SASE: Silver Seeking ongoing submissions of po­ Expansion Arts Organization try. Call before submitting materi­ Eye Center for Photography, 1015 E. etry, fiction, nonfiction, art, photog­ grants from $5,000-550,000 als. Info US Department of State, Carson St., Pittsburgh, PA 15203. raphy and cartoons. Info Pig Iron for professional arts organiza­ Room B-258, Washington, DC Press, 26 N. Phelps St., PO Box 237, tions rooted in diversity. Info 20520. 202/647-4000. Documentary Youngstown, OH. 216/747-6932. NEA, (202)682-5786. Entries for Alternatives '96 exhibit due Wisconsin women Dec 15. Info Katherine Mickle, Ohio Page 5 Seeking peace and Nonprofit organization for female art­ U School of Art, PO Box 775, Ath­ It's small. It's free. R. Chris Halla, edi­ social justice? ists. Publication, advertising, and ens, OH 45701. 614/593-4288. tor and publisher of Page 5,1455 W. Up to $1,000 per grant for membership info: WWIA, 8700 W Prospect Ave., Appleton, WI 5494. women who speak for peace 15th St., Oak Creek, WI 53154-3710. Poughkeepsie photos and social justice. SASE Bar­ 764-7630. Cash awards. Deadline Jan 1. SASE: Up North bara Deming Memorial Fund, Barrett House Galleries, Dutchess Three to six pages of original poetry. PO Box 40-1043, Brooklyn, NY Women everywhere County Art Association, 55 Noxon FFI: North Coast Review, 1028 E. 6th 11240-1043. Celebrate your achievements. Dead­ St., Poughkeepsie, NY 12601. St., Duluth, MN 55803.

GRANTS OPPORTUNITIES Sound History is a series of articles one of the ways we are all tracked and A NEW YORK which will appear in this space in followed in a Big Brother fashion, for re­ future issues. Some of the topics I member, each of us has that nice shiny STATE OF MIND will be extrapolating on are: The C plate with the number on it (ironically, Chip (keeping these plates are made in prisons). Oh, to study again. Well, I guess as artists we always study: the money z the method actor researches the circumstances of a charac­ grubbing Of course prison is a business, a way z< ter, a dancer takes classes, a poet looks up a word in the Christians off of life, a culture. Some people believe X dictionary. As a musician, I suppose I could say that practic­ my TV); Execu­ that criminals and police are actually ing is study, or that going to concerts and listening to CDs is tion for presi­ very similar, the difference being that study. But I frequently still study with someone. "I take a dents of Ciga­ at a given point some of them go one lesson." Sometimes this is with a teacher who lives within rette Compa­ way and choose the criminal life, while driving distance. Sometimes it means I take the bus to Madi­ nies; Selling others go the other way, and become son for a lesson. This time, I've flown to New York City to Burial plots at police. take lessons with two individuals whose musicianship im­ the new stadium; Whatever Hap­ presses me very much. pened to Sunday?; and The Do you think that if we had as much Succubus. Each will have a song or coverage in the media about the writ­ Picking a teacher is half the battle. Some musicians search piece of music associated with ing and performing of a symphony, as for a teacher who lays out a clear, methodical path. Those them. You can receive a cassette of we do about murder or drug arrests, who want to pursue an academic career in music select some­ this material by writing Art Muscle our country would be kinder and gen­ one who has also pursued that goal. Some musicians seek and sending $ 10 and the title of the tler? Isn't it typical to learn about a new out a teacher to help them with a specific area. For instance, article you want. They'll forward piece of music only by wading through I recendy met a pianist who, when her hands became unus­ your orders. 30 minutes of "murder and mayhem" able because of tendonitis, looked for a technique coach to news? And isn't that because most lis­ help her use her hands properly. Thank you, Sigmund Snopek teners and/or readers are more inter­ ested in murders and the craft of mur­ So, here it is Monday morning in New York City. I'm warm­ der than in learning about composers ing up on my instrument. I remember how much I love play­ Denial and the Machine Age and their craft? What if every convict ing and listening, though it's a sentiment that is often lost had to take piano lessons? among the pages of my calendar and the list of music yet to Americans are in denial of everything. We be mastered. This morning my first lesson is with a gende- are running a prison business that's more AMERICA IS IN DENIAL We punish by de­ man who has studied and spent time with some ofthe musi­ interested in putting people in jail than nial. What sense is there in denying cal greats of our century. As a result, this lesson is sprinkled in educating or improving their lives. people a driver's license? Has this with anecdotes and quotes. He tells me how one virtuoso stopped crime or stopped the carnage performer confessed to him that she never was able to mas­ Drug arrests increased 36% in the first on our freeways and highways? NO, IT'S ter the section with which we are struggling. Later he relates six months of this year over the same ONLY A POLITICAL PLACEBO, IT MEANS how Herbert Howells, a composer known for his meticu­ period last year, largely because of a NOTHING to have been denied a license. lous notation, actually restricted the amount of marking he 71% jump in juvenile arrests for drugs, put in a score in order to afford the musician freedom of a state report says, (from an October We are slaves to the economy. We are not expression. My teacher is also a composer who treats each Milwaukee Journal Sentinel) free. We slave for oil. We kill for oil. We score as if the ink were still drying on it, thus bringing a fresh worship cars. In the 60's we read 1984 and unmeasured musicality to playing. Most of these arrests involved mari­ and talked about Big Brother. In the 90's juana possession and are a waste of we have become Big Brother and we don't During this lesson, caught between past and present, I am time and money. They do more harm even know it. AMERICA IS IN DENIAL struck by two indispensable ingredients in music making, than good. Once people get sucked in what is handed down to us and those trailblazing possibili­ or close to the prison system they be­ So the next time you sit back to watch ties that loom ahead. There are specific areas in each piece come victims. A gray line of depres­ the 5 o'clock news and they glibly slip where my teacher suggests how I could better express what sion and negativity surrounds these on the cameras that watch the freeways, is written on the page. Yet, the larger lesson seems to be that victims and as they walk among us the stop and think and realize that the COLD obedience and rebellion are always necessary attitudes, and gray line surrounds us, too. CRUEL MACHINE ACE IS HERE. that it is amidst this tension that the most exquisite playing is to be found and heard. Lawmakers sit and plan new ways to Snopek, a fine arts graduate ofthe Uni­ arrest innocent victims every day of our versity of Wisconsin-Milwaukee, claims Late in the afternoon, on Tuesday, I prepare for my next lives, actually creating criminals and to be the only musician to have per­ lesson, that of "improvisation", a skill I am learning in fits nurturing them to the next level of crimi­ formed in Carnegie Hall and a bowling and starts. It's humbling that my teacher is not much older nal activity. Cars and automobiles are alley in the same month. than I am. She has a solid theoretical background and a high level ofthe intuitive. Over the next 90 minutes, she has me Motors develop themes, modulate, create variation and interesting Song by Snopek, Wiamann accompanying material. I find it difficult to react to her un­ We go downtown and walk around with eyes peeled predictable commands; my ears take a while to catch up with moving to the sound of motors winding our watches on our haunches eating lunches what my brain and hands are doing. My teacher, though to the sound of motors demanding, is also encouraging, so I suspect this process is We masquerade as Fakirs Zen alarm Class breakers both good and necessary. To the sound of Motors Running in craters elevators and dumb waiters As we leave the lesson together, I am overwhelmed, and as a To the sound of motors close the borders we have orders result, I'm quieter than usual. This is my third lesson with close the borders we have motors her, and it has been most intense. She tells me to trust my­ Storm on the lake lying awake at daybreak self. I want to laugh and say "That will take as much practice Rocking to the sound of motors as the modulations and texture shifts!" fly in the sky we don't know why we keep high rolling to the sound of motors all of us cussing on the bus we must be rusting On Wednesday, during my Milwaukee-bound flight, I think to the sound of motors 84 wheelers at your dealers point your feelers about the experience of studying and making music in New to the sound of motors York City, about the art I saw and the walking I did in be­ cruise the borders we have orders tween lessons. It feels luxurious to have made music outside cruise the borders number 1 machine takes quarters ofthe normal dash of my daily life, to have been encouraged Pounding the night the yellow light invites us to punch it by my teachers, to have heard their opinions. Luxurious too, out in the street we are discreet we all meet drilling to the sound of motors is the thought that now I'm headed home again, to put it all man is wad to work. we call it god we nod yet slaving to the sound of motors —Karen Beaumont man is a brain he can't explain the mundane lever Ms. Beaumont is a professional musician and ongoing to the sound of motors close the borders we have orders contributor to Keflexus. close the borders we have motors 8 Art Muscle HOLIDAY SHOW 'GIVING FOR THE FINE ART CREATIVE SPIRIT" WORKS OF 200 ARTISTS ARE YOUR CLOTHES AS GLASS MULTI-MEDIA A FESTIVE ASSORTMENT OF COMFY AS YOUR BATHROBE? PAINTINGS ARTIST-CREATED ORNAMENTS • • • • DRAWINGS NOVEMBER THRU DECEMBER SCULPTURE "INTERIORS" FURNITURE OURS ARE CERAMICS • screens • lighting • fiber WEARABLE ART JANUARY 13 through FEBRUARY 29 FURNITURE Opening Reception Sat, Jan. 13th, 11-5pm Clothing, handcrafted jewelry and other stuff designed and made by women artists

GALLERY

10050 N PORT WASHINGTON ROAD US€ & KOTO'S NEW MEQUON, WISCONSIN 53092 LOCATION: 414-241-7040 Bayshore Hall SPECIAL HOLIDAY HOURS: 964-6768 MON, TUES, WED: 11-6* THUR, FRI: 11-8 • SAT, SUN: 11-5

CABOCHON s?l£S • REBECCA MYERS • K Gems and Designs

Specializing inline custom-designed jewelry and rare gemstones. Featuring the work ot Karen L. Davidson Paula Crevoshay Christopher M. Stephens Ross Coppelman Phil Delano Norah Pierson Nikki Scaduto Janet Alix Rob L. McCall Kevin Lane Smith and introducing the work of • Rebecca Myers f of Myers/Gondek Design Opening Reception Friday December 1,1995 • 5-8pm Saturday December 2,1995 • 11am-5pm 22K & 18K Gold and Sterling Silver Earrings Cabochon Gems and Designs • 2595 N. Downer Ave. • Milwaukee with Boulder Opals and Pearls itfS |U»-J MAD FOREST Brookfield Player's successful approach in stag­ ter musician Joe Magnino. In the days when ing The Glass Menagerie was accompanied not there were 3,000 accordionists in Milwaukee, THE GLASS MENAGERIE by a stripping away of traditional theatrical he was (and still is) considered one ofthe top packaging, but by abandoning much of the players. When other players were trading their "Creativity" is a mercurial term used to describe excessive baggage this Williams' script has instruments for synthesizers in the early 80's, an imperatively basic component ofthe theat­ specifically carried throughout its long history. Magnino continued playing his smooth sound­ rical arts. However, it is little challenge to dis­ Director Gene Guenther maintained a creative ing custom made LoDuca accordion. play "creative" talents when there is a surplus respect for Williams' language and original in­ of budget or staff. Expansive sets and cos­ tent that conspicuously avoided the garish These days, he plays some 200 gigs a year, tumes often mask a production's true deficien­ emotionalism and hypergothic theatrics that and performs every Wednesday from 6pm-8pm cies, and a large support staff may be able to have attached themselves to its many produc­ at Mineo's Touch of Sicily restaurant, on Layton contribute their respective talents to infuse a tions (community and professional alike). A Avenue. Working with him is a native of Italy, show with clever improvements that suggest delicately poised tone throughout the evening vocalist extraordinaire, Raffaele Patrone, who an innovative and cohesive end product. allowed the cast's (Michelle Waide, Jonathan has been well known for years as a performer Wainright, Sarah Behrendt, Robert Buehler) own at Italian festivals and restaurants. Happily, Mr. creativity to discover the simpleness of the Patrone is also a sales rep for LoDuca Brothers characters, and by doing so, paradoxically wine division. They supply the city with the play-out the inevitable complications of Wil­ legendary Mammertino vintage. Tableside at liams' skillfully executed drama. Trusting and Mineo's, the duo plays all the standards, stan­ respecting the author's and audience's creativ­ dards like Al Di La, Volare, and Arrivederci ity bespoke a professionalism that belied com­ Roma, with Patrone singing in Italian and fol­ munity theatre trappings. lowing it up with the English translation. When Patrone hits the high notes, accompanied by These two efforts, while different in many re­ Magnino's lush harmonies, he's perfectly in spects, shared a significant similarity: a sense tune. Masterful and romantic, they registered of creativity that defines how rewarding the­ a solid 10 on my goose-bump meter. atre in Milwaukee can be. And that's a chal­ lenge too infrequently met. And about the legendary Mammertino. It led the way to the fresh Italian bread with butter —Mark Bucher not too cold to spread, and a salad served at Mark Bucher is an actor, theatre critic, and just the right temperature and presented in Director ofthe Boulevard Theatre Ensemble. my favorite manner — on a clear glass plate. The Pasta Trapanese and Spumoni were won­ derful. With white chairs, white pillars, soft MINEO'S TOUCH OF SICILY blue colors and fresh flowers on the tables, Mineo's is really classy. 6015 W. Layton Avenue Joe Magnino & Raffaele This is the way it's supposed to be folks. Check Patrone it out! —Jack Grassel The accordion has received a bad rap. Gary Look for musician Crassel's reviews in future Larson's Far Side cartoons show Satan greet­ issues. ing his guests: "Welcome to hell," he says, "here Two recent Milwaukee theatrical events hinted is your accordion." And in a Cajun band, the at neither an abundance of money or staff, but accordionist sometimes pulls the bellows with did successfully demonstrate theatrical creativ­ such force that it sounds like a Yugo had hit a ity through distinctly different approaches. The dog. However, any musical instrument is just PLAYWRIGHTS STUDIO THEATRE Milwaukee Repertory Theatre's Intern Program a sound-source controlled by the person oper­ Dracula Vs. the Nazis offered an exhilarating staging of Caryl ating it. Churchill's episodic drama Mad Forest in a re­ Stiemke Theater hearsal hall on the 4th floor ofthe Rep's space October 20-29 in the Milwaukee Center, while the Brookfield Players mounted a delicate and respectful ex­ If the image of Eva Braun coaxing Adolf Hitler ploration of Tennessee Williams' The Class to do the Chicken Dance is any indication, you Menagerie in the Little Theatre at Brookfield could say that Mike Neville's quick change com­ High School. edy Dracula Vs. the Nazis is a little off the wall...okay, a lot off the wall, but loads of fun Mad Forest, under the energetic guidance of nonetheless. A sometimes overlooked gem in Directing Intern Steve Young, was an invigo­ Milwaukee's cultural life, Playwright's Studio rating testament of creativity's triumph over Theatre has provided theatergoers not only the absence of costumes, sets, or theatrical with an annual festival of new ten-minute plays, lighting. Using rehearsal chairs and tables, the but with the invaluable opportunity to follow dozen or so jean-clad interns impersonated the growth of a work-in-progress. The lifespan Churchill's mammoth cast of Eastern European of Dracula Vs. the Nazis has included a staged characters with an effective relish. The suc­ reading at UWM, followed by a workshop pro­ cessful transport of the audience into the duction at the Broadway Theater Center, and darkly comic tale of political and social up­ the recent Stiemke Theater run. In his program heaval was achieved through incorporated notes, Neville paid a debt of thanks to The song, imaginative use ofthe rehearsal space, Mystery of Irma Vep for influencing the mak­ and inventive movement (actors climbing up ing of the play. Even in its third incarnation, walls and over each other to suggest the many though, Dracula falls short ofthe fast and fluid locales, choreographed stage combat and comic pace of Irma or another similarly suc­ dance, and effective utilization of rehearsal cur­ cessful play, Greater Tuna. tains, props, etc.). By relying on the talent and energy of the interns, and the director's fertile To its credit, Dracula has great substance; it imagination, the project's creative approach focuses more on telling a story than showcas­ enriched Churchill's often bizarre treatise on ing a couple of hours of quick-change acrobat­ the effect of political/social injustice on the ics. Neville and Chris Flieller portray about middle class. The sheer lack of expected pack­ seven characters each, including Drac, Renfield, aging ironically resulted in a rich evening that I was reminded of this when I experienced the Eva Braun (who sports braids and a dirndl rewarded everyone. beauty of the accordion in the hands of mas­ adorned with a swastika), Hitler, a Spanish 10 Art Muscle Contessa, an obnoxious mother and son from scattered works tease and challenge observ­ means to be an artist in America at the end of Brooklyn, and an Archbishop's daughter pos­ ers to discover their meanings and syntax. As the 20th century, without labels, categories, sessing "extra-digital awareness" (a sixth fin­ the work's name suggest ("mneme" is the Greek and buzzwords. Choreographer H.T. Chen hon­ ger)— and the counterparts of most of the word for memory), one is challenged to dis­ ors his roots in traditional Chinese dance and above existing in a parallel universe. They cover and to remember where in the building's theater, as well as Graham and Limon tech­ weave in and out of some fifteen scenes-worth drawing set you are. Empirically arrived at, each nique, in dances that are fully realized, ma­ of Dracula's struggle to keep an all-powerful location differs substantially from all others; ture, and distinctive. His troupe of skilled danc­ "pandemonium wheel" from the evil clutches these thought fragments fold and pleat around ers, spanning a variety of mostly Asian and of the Third Reich. A "Mr. SFX" Gonathan corners, seductively invade real space, and Asian-American backgrounds, bring his unified Leubner) introduced scenes by singing famil­ hover above. Though the building is monochro­ vision into form. iar songs appropriated for the show ("Hit the matic, and these works do not inject perhaps Road, Drac" among them) and encouraging needed color, they do introduce the notion of The performance opened with "Double Happi­ audience sing-along, and produced various information layering, complexity and contra­ ness, One Hundred Sorrows," and its elegant sound effects from behind a console created diction in architecture. They also introduce chorus of long white silk fans. The most nar­ from cases of Miller and Miller Lite. controversial texts into otherwise monastic rative piece of the evening, it depicted cou­ spaces. pling and marriage in the context of 1940's With loony two-dimensional set pieces, cos­ Shanghai, a center of political and cultural tume changes visible to the audience as sil­ change. The piece moved from playful sensu­ houettes through an on stage scrim, and the ality to darkness, longing, and loss, ending in actors' mostly impeccable comic timing, the the unhappy marriage of a young couple. evening was loose and fun, but the play's tu­ multuous unfolding resulted in a performance "Journey" was the newest piece ofthe evening that seemed too long—nearly two hours. This and the most abstract. (Its seeming abstrac­ Dracula didn't really bare its teeth until the mad tion may have been due in part to being ex­ whirlwind climax, during which the actors fran­ cerpted from a longer work, "Red Spot"). A tically switched between Eva Braun, Hitler, Drac haunting duet performed gracefully by Hikara and their respective parallel universe like­ Babaand Kazu Nakamura, it moved diagonally nesses, aided by dressers who eventually just downstage with an impression of searching. stayed on stage, ripping off wigs and affixing mustaches. The highlight of the evening was certainly "Opening the Gate," with its stark white cos­ Although it wasn't clear at performance time if tumes and lighting and the driving score by another production of the play has been Bradley Kaus, a frequent and well-matched planned, perhaps yet another version of collaborator. The piece opened with ritualistic Dracula, a slimmer and trimmer one, would drumming, which worked visually, but could benefit PST and its audiences alike. have been more tightly performed. Neverthe­ less, the piece took off as the drums disap­ —Megan Powell peared into mist and the dancing began. Tun­ Megan Powell is Art Muscle's Calendar Editor. nels and doorways were depicted, and twitchy shoulders and writhing torsos implied restless­ ness and transformation. These movements MNEME XXXI: DWELLING IN were offset by shapely "lotus hands," twisting THE PLAN arms, spirals, and backward rolls that gave the piece a rich, complex texture. The work gath­ School of Architecture and ered energy, speed, and intensity, and climaxed Urban Planning Mneme XXXI is the nexus between mylar and in brilliant white light and the smoke of com­ brick, the sketch and the building. It is both pleted transformation. In the end, the gate University of Wisconsin- elusive and omnipresent, heroic yet subtle. Its must open. Milwaukee "events" record the real essence of the build­ ing, revealing the skin, bones, and spirit ofthe Through these dances, choreographer and ar­ Recently, the School of Architecture and Urban container. Rarely have art and architecture been tistic director H.T. Chen demonstrated his own Planning at the University of Wisconsin-Milwau­ so thoughtfully produced and so elegantly dis­ alluring and noteworthy style of American kee officially inaugurated a permanent art in­ played. The Emmons' have made art and archi­ modern dance. stallation for their new campus building. Com­ tecture speak with a single voice and, conse­ missioned through a Percent for Art competi­ quently, have endowed the School of Architec­ —Peggy Hong tion administered by the Wisconsin Arts Board, ture and Urban Planning building not only with Peggy Hong is a Milwaukee writer, poet, and some 300 entries vied for representation in the art, but with celebration. dancer. modernist structure. The one entry chosen was clearly superior, an intelligent artistic response —Joseph Korom where nothing was allowed to go awry. A Milwaukee architec­ tural designer, Korom is Entitled Mneme XXXI: Dwelling in the Plan, this also a painter and site-specific work was a collaborative effort by the author of Milwaukee brother and sister Paul and Carol Emmons and Architecture: A Guide to their assistants, Sean Duncan and Scott Farmer. Notable Buildings. In reaction to one monumental or monolithic sculpture residing in the building's courtyard, or some steel stabile or mobile inserted into CHEN AND the building's corridors, judges opted instead DANCERS for a collection of "events" strategically placed throughout the four-story structure. Alverno College Like oversized puzzle pieces, parts ofthe build­ Pitman Theatre < ing, symbols, and verbiage were lifted from u the architects' drawings ofthe school and made November 10 palpable. Attached to the building's white cor­ ridors, concrete columns, and gray ceilings, are To say H.T. Chen makes twenty perfectly scaled (enlarged) representa­ beautiful dances is not tions of those very corridors, columns, and enough. To fully appreci­ ceilings. Constructed of steel, galvanized metal, ate Chen and Dancers is Plexiglass, plywood, glass, and paint, these to appreciate what it

11 AND RED ALL OVER Theatre X Women's Series Jolene Frechette Niagara Falls, Straight to [ B R I G J Wisconsin Academy the Top! My name in Marilyn Levine, and though I'm not an of Sciences / Madison Paula Killen artist, I have had the requisite education in art his­ Now-thru November 30th October 27-28 tory and have been an art aficionado for a long time. I've owned The Bay View Gallery for about a year. As an "outsider" coming into the art world, I have Jolene Frechette's densely colorful, comic­ Chicago performance artist Paul Killen's discovered a great deal about art in Milwaukee that book influenced, small-scale (usually 30" third contribution to the annual Theatre X I don't like. x 24") paintings tell stories on many Women's Series was a blend of song, audi­ levels all at once. But it is our sense that ence participation and parody —a twisted Milwaukeeans don't appreciate art unless it's in a mu­ we are in the hands of a narrator who picture of "these colors don't run" ultra- seum. As the joke goes, when the stewardess announces has achieved a rare, unbroken balance in conservative American patriots. the time on flights landing in Milwaukee, she says, her sense of irony, her sense of comedy "Turn your watches back to 1956." (a very different thing from irony), and a With an American flag hanging in the back­ visual vocabulary that is both rich ground of the set, Killen's character, Art is expected to appreciate in value, to be risk-free, enough and accessible enough to take us Niagara, decked out in a blue dress and and to be something that any child can look at. Why? anywhere she'd like us to go. red and white mismatched shoes, was as And what are artists doing to change that? Apparently cheesily American they don't think they need to communicate in ways as her namesake. that the average person will understand. They don't Because flag-waving think they have an obligation to teach the community patriotism can't at large about their art. Why? squelch her loneli­ ness or satisfy her Example: Where are the public service announce­ search for self ("I'm ments from Wisconsin Painters and Sculptors about an American, after the place of art in the community, in the home? We all, I understand have a sign outside our gallery that says, "Art helps hard work and make a house a home." unreciprocated love."), she turns to Artists have elitist notions about what "counts" as art. cocktail lounge-like No, I do not think neon beer signs are capital A art, entertaining and but someone did design those signs, and in their work clown school. environment, that person was called an artist or de­ Niagara, a bank signer. Maybe it's time to broaden the concept of what teller by day is a counts as art. complicated charac­ ter in complicated Educating the public means going out into the com­ times, another prod­ munity and talking about art, whether the community uct of Killen's explo­ wants to hear about it or not. How many public ser­ ration of personali­ vice announcements have you seen that really inform ties teetering on the about what it is an artist does? How many people know tightrope strung be­ what positive and negative space are as defined by art­ A self-taught artist and an urban member tween sanity and absolute loopiness. She's ists? How many surveys have been taken to determine of the Wisconsin Menominee tribe, one-third Phyllis Schaffly, Sally Jessie and the community's knowledge of the kinds of materials Frechette understands her origins and Carol Channing, with a pinch of Starhawk, an artist works with, what is involved in making im­ draws on them in her sensibility and her and of course, a pinch of Niagara. ages, or how an artist does what he or she does? subject matter. But just as the times she lives in trouble her, they offer her a gram­ Her perfectly nerdy and stonefaced piano Anyone can express themselves artistically even if they mar for spelling out what's on her mind. accompanist/lounge lizard, "Monte can't draw. My first actual art activity as an adult in­ To a large extent what's on her mind is dis­ Carlisle," helped her engage the audience volved a 4'x8' sheet of plywood and 25 cans of spray placement and enigma. in a series of songs, stories and improvi­ paint. Though I can't draw, and can't see 3-dimen- sational bits. Replete with a medley of pe­ sions in those "cross-your-eyes" books, I don't think I For example, one of her larger works, The rennially patriotic tunes (including "God should be looked down on for choosing and undertak­ Settler Problem, shows a tableaux of Bless America"), a melodramatic version of ing any form of artistic expression I choose to call art. middle-class neighbors watering their "Send in the Clowns," and a hilarious, cre­ lawns, talking over the hedge about ba­ ative rendering of the Biblical story of The key to integrating art into our community eco­ bies and recipes. We look a bit more Salome (starring "Johnny-the-Baptist-Depp" nomic life, is in changing the public's perception about closely, and we see that these figures and Chelsea Clinton, "Princess of America"), art. And the public is not going to change unless there caught in the casual slouching postures Killen's commentary was clever, heavy- is a concerted effort to bring about change. I issue this of "real Americans" all have Native Ameri­ handed and sometimes loosely woven to­ challenge to the Milwaukee non-museum art commu­ can features. Quietly on the horizon gether. Her improvs, although entertaining, nity: I challenge you to change the system of beliefs, looms the black silhouette of a covered seemed more like opportunities to let her attitudes, and perceptions about art in Milwaukee. You wagon pulling into the scene. Who's quick-thinking shine, than as vehicles to have until the end of the century to do it. settled and who's unsettling here? we're move her character spontaneously for­ asked to ask. ward. These bits revealed some inconsis­ Marilyn Levine tencies in her character. For example, pro­ Other paintings offer enigmas tied less nouncing that Kurt Cobain was the ideal to specific Native American history. clown and then indicating that she didn't Bobby Ladd's Car, in which a group of like Republican Senator Phil Gramm. This letter was written by Amy, the young lady memori­ middle-class neighbors (with Native alized in the vase on page 13. American features) sit around in a drive­ But it all succeeded in giving us a wavy way and talk, or the grimly suggestive A fun-house mirror image of fanatic "love it December 15,1988 True Story From Up Home: The Cigar Boxo r leave it" Americans. It helped us laugh Baby, in which a newborn is carried away at these otherwise frightening political ide­ Dear God, by an elderly man while the bleeding ologies and rigid cultural enforcements. At mother lies exhausted in the background, the end of the piece, she steps back, re­ Through you I may be whole. Wrap your strength or Indian Burn, in which a thickly peopled minding us that we are lonely. We're all around my soul and squeeze it until it is luminous. In­ barbecue differs from our ordinary ex­ looking for our own red rubber noses. ject your wonderful potion into my blood so that I pectations only in the fact that all the fig­ may be cured of sins. Saintly are you. Place a lemon on ures are Native Americans, offer viewers Next up in the spunky Late Night Series: my head, so very yellow in your strength. White lilies mysteries which remind us of the tab­ Bill Finn & Red Nose Productions with shall gallop around your head with such grace and joy loids or LIFE magazine or the feature Christmas In Evan's Head. (Dec 13-17, and warmth. pages, but which transcend them into a Dec 23). Through Dec 18-22, The Scream­ strangely noble realm through the silent ing Penguins and The Dead Alewives ca­ God make out of this letter what you can. I wrote this dissonance they create with what we rouse in A Twisted Carol. Call Theatre X letter in great love for you and all brothers. think we know. for details. Merry Christmas. —James Rhem —Jen Benka James Rhem is a writer and Madison art Jen Benka is a poet and member of the Love always, critic. performance art band Mook. Amy 12 Art Muscle z

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MEMORY VISE Like many in our family, Amy was a pack-rat. But she was also an extremely creative person drawn to all things eccentric. When she passed away in July, we thought Amy might like to be memorialized by an icon created from her treasured trinkets. This vase, this Memory Vase, was put together with love, and, we like to think, Amy's guiding spirit. It was one way of dealing with our loss.

Grace & Randy McDonald Fred Stonehouse 1 0 i R S B

THE DHZZLE OF DRNCE Shimmering and golden, Theresa McAdams and Denise Lukasik-Sedmak whirl in garments hand embellished with 2,400 paillettes. At their hips are coin belts fashioned after those worn by women who earn their dowry by performing at the Souk (marketplace). Theresa and Denise perform with the Trisha Mid-East Dance Troupe and are affiliated with the Pat Kellar Dance Studio. Y [ I II I I I M P E

H COMMUNITY TREASURE Florerrce Nivens is a real gem who delights in volunteering for St. Ann's Adult Day Care Center where she evaluates treasures that arrive by the thousands. She and the many volunteers invite you to share the sparkle at Southgate now through December when they'll be selling the donated pieces. All proceeds will go to support the care of the frail and elderly at the Center. Fix BRILLIANCE The eyes have it. SPLENDID RRIMENT

"It's all about presentation." Victor Rendon's trump card to success is teaching people how to manage their image, how to create impressions, be they public or private. Six times a year he travels to New York City to design hair in Manhattan. In Milwaukee, victor styles at Studio D'Angeli. Dave O'Connor dreamt that he had a ball the size of a trailer-hitch on his tongue. As a result his tongue wouldn't fit back into his oral cavity. This exceptional dream came from a man who pierced his ears a decade ago, then moved on to doing the bridge of his nose, his nipples and five genital piercings. His tongue was transformed in Chicago by the Reverend Mad Jack. Dave plys his trade as a professional body piercer at Tie Me Down on fashionable Brady Street. I often pull out my first opal ring, a Buyers focused on colored stones and tiny pinky ring with a blue Anadamooka fine period pieces, such as an art deco pRF $M Qonfe stone. It fell off in the driveway of my pearl and tutti-frutti necklace set with farm in the winter of 1980 and was rubies, sapphires and a carved emerald found in the spring thaw of 1981 by weighing 150 carats, which fetched $ack $e&> yZ*-^ my four year old. The flattened ring has $54,000. The "world's largest red em-

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juice. Now he was writing about some Among the earliest harbingers of "ma­ form of plastic material, plastic glass, chine aesthetic" are certain jewelry de­ obtained by boiling together eggs, glue, sign of the 1860's in France and Ger­ and vegetable dyes: saffron, poppy dust, many; these are composed of screw whole lilies. He explained briefly how heads, nuts, bolts, wrenches, and other to shape, scrape, and polish (with a symbols of the age. They might have dog's tooth) this substance, which he been intended to appeal to prosperous claims resembles agate, jasper, or some factory owners, since the materials in­ other hard gemstone, and dicated are gold and pre­ he gives a list of possible cious stones. uses for it: knife handles, The History of Art chessmen, saltcellars, pen­ H.W. Janson holders, boxes, vases in the antique style, necklaces, Rita's cross was silver, or lamps, candleholders, "en­ silver plate, lightweight crusted" jewel caskets... but pretty winking be­ < Leonardo: The Artist <& tween her plump breasts The Man snug in her tight red Serge Bramly orlon sweater, new at Christmas. Maddy's was < There came into my hands, among smaller, the kind of "silver" that left many other fragments, the head of a stains on her skin if she wore it over­ O dolphin about as big as a good-sized night. Goldie's cross was chunky and Z T ballot-bean. Not only was the style of glittery with a brassy tarnished cast tak­ U 00 been rounded out, and the opal pol­ erald," weighing 8.03 carats, estimated this head extremely beautiful, but na­ ing light from her brassy tarnished hair < ished like new. It's certainly a testament at $150,000-$160,000 did not sell. ture had here far surpassed art; for that lifted like steel wool from her head, Q and her eyes too, sly and amber, deep- Z to the good luck of opal. National Jeweler 1995 the stone was an emerald of such Karen Davidson good colour, that the man who Cabochon Gems & Designs bought it from me for tens of crowns sold it again for hundreds after set­ Tell me: how did gold attain ting it as a finger-ring. I will men­ -neFT** the highest value? Because it is tion another kind of gem; this was a uncommon and useless and magnificent topaz; and here art gleaming and gentle in its equalled nature; it was a large as a big .— E*l»tl. blSS splendor; it always gives itself. hazelnut, with the head of Minerva in set, S-tlr&r- MOLO Only as the image ofthe high­ a style of inconceivable beauty. restless... est virtue did gold attain the Life ofBenvenuto Cellini Lana's cross e**wn^ "'"• highest value. Goldlike gleam Written by Himself was ornamental the eyes of the giver. Golden TSt

ered manufac­ and cardboard cov­ was the most un­ **Ktt

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NICK CHVE & m MIXED MEDIA MASK "... YOU CANNOT OBSERVE A WAVE WITHOUT BEARING IN MIND THE COMPLEX FEATURES THAT CONCUR IN SHAPING IT AND THE OTHER EQUALLY COMPLEX ONES THAT THE WAVE ITSELF ORIGINATES. ">•> —MR. PALO MAR ITALO CALVINO

When a friendrecommende d that I stop to see occurs as the boundary obtains a new status. I Nicholas Africano's work at the Michael H. concluded that the artist, in pushing the focus Lord Gallery on Wisconsin Avenue, I remem­ from the object (which is a traditional seat of bered I'd seen this artist's work before. And I truth, beauty and permanence), has carefully remembered that it had taken me to that other assigned priority to the relationship between the place in time, that other which is nameless, mys­ object and space, form and other. The flexible terious and precious. His dynamism ofthe boundary/membrane (an el­ work had transported me ement indispensable to form, be it verbal or then, however briefly, to a non-verbal), lets Africano create a "thing." In sacred place, challenging doing so, he once again reminded me of the me to unveil it's meaning. transitory and necessary nature of all bound­ As a sculptor and art edu­ aries. Without it, the object is "no thing." It cator, interpretation, sign falls into the void of "no being." and signification have be­ come avocation and voca­ But is Africano successful in translating this con­ tion. I wondered if the cept from his paintings and mono-prints to his magic was still in his work. sculptures? This is, after all, a difficult problem for an artist, as sculpture is mass, volume and To my delight, Africano was form. It exists in actual space, and because it well represented by three does, it is easy to overlook the value ofthe magic 6'x7' oil paintings, two in­ ofthe boundary by subordinating it to the fix­ timate mono-prints and ity ofthe object. two amber-colored glass figures. It should be noted He again establishes the importance of a bound­ that this artist has had un­ ary by selecting glass as his medium. The fig­ usual success from the start ures, intimate in scale, are produced in cast am­ of his career, which in itself ber glass. The transparency ofthe material de­ is unusual. In 1970, his pas­ fies the normal displacement of space by an ob­ sion at Illinois State Univer­ ject. Had he chosen wood or marble, the opac­ sity was literature, but three ity of the material would have grounded the years later he had trans­ object. The artist has successfully blurred the ferred to the university's difference between figure and ground, and, in graduate program in paint­ doing so, has reinforced the message in his two- ing. The past two decades dimensional works. The surface of his glass fig­ have produced a national and international ex­ ures, virtually unpolished, retain a rough, worn hibition history that is extensive and impres­ quality similar to the sive for someone who is still in his 40's. beauty of glass found washed ashore. Per­ Africano's work appears to be disarmingly haps this signifies simple, and as such, it can subvert deeper inter­ the artist's tribute pretations. In his paintings, he typically isolates to age, endurance the human figure in vast empty spaces, barely and ancestry. tethering them to the world they inhabit. It's an erotic world of beige and grey, a neutral These figures are world, an androgynous world. A hint of a hori­ humble, humorous zon line, a quiet shadow, are devices he uses to and enigmatic. keep his youthful beings from slipping into the They speak of gen­ past or passing into the future. tility, the ephem­ eral, and they cau­ His approach to information is restrained; ob­ tion that as mere jects, color and action are minimal and depict a mortals we are vul­ contemplative space. This approach indicates nerable. Some may the solitude required for reflective thinking. For interpret their es­ me, at least, it mirrors the restraint implicit in sential solitude as the term "human," for each of us is at once angst-ridden indica­ observer, observed, and judge. It's a restraint tors of alienation and hopelessness. That's not highlighting the tension between the self and the what I felt. What I did feel was a reverence for many, the individual and the community. life, a respect for what came before and what is yet to come. When I left the exhibit, I knew I The sexuality of his innocent, pubescent fig­ had experienced that which is "other," and be­ ures is open to interpretation. Are they male or yond the realm of human language. It is this female or merely vehicles for moving from form other, this elusive and not- to-be-possessed magic, to form while blurring gender differences? The that marks Africano's elegant expressions. title of his painting, Rebecca's Brown Dress, though supplementary, is a clarification of gen­ —Karen Olsen der, but I think it is secondary to the figure as Ms. Olsen is an instructor at Mount Mary Col­ gesture or announcement of "being." lege. Her sculptures are exhibited atArjsten and Associates Gallery, 830 S. 5th. By minimalizing the differences between fig­ ure and ground, Africano seems to be con­ Editor's Note: The $25,000 sculpture Woman sciously displacing history and the usual privi­ with Fruit (pictured above) was stolen Tues­ lege assigned to the object. His brush marks day, November 8th, appear to be spontaneously placed and only hint from the Michael H. at articulated volume; the warm tones of grey Lord Gallery. A and beige appear interchangeable. What finally $1,000 reward is be­ delineates figure from ground is a sketchy out­ ing offered for the line of a darker value. This shift in hierarchy return ofthe piece. • 23 My son Wesley is also an inspiration. We often sit in the studio in front ofthe shelves that support the week's work and discuss the various pieces. He comments on color and shape in terms that are incredibly simple and honest. Vve used a set of his drawings about moose antlers as inspiration for one of my vessels. —W.H

When I left Chicago and moved to Princeton, Wisconsin 9 years ago, I was certainly feeling a stifling sensory overload. Things are different here in Princeton where we have only the rocks, trees and beautiful bodies of water to ponder. This is refreshing, for when one has too much visual information, it is difficult to de­ velop personal ideas.

Now that I'm in to my 20th year as a glassmaker, I seem to be thinking about my life more than usual, though I don't begin my day with intense soul-searching; I simply begin working with a specific form and vary it until I become bored and move on to other ideas.

Over this time span, I've watched the studio glass movement go from 0-100mph in what now seems like a relatively short time. I guess it's nice to be part of this accelerated growth, but I never was much interested in whether or not my objects were connected to the American Crafts Movement or part of the squabble of "is craft a valid art form?" I simply love making glass objects. Come to think of it, I haven't been to a Glass Arts Society Conference in years.

In this same time span I've made over 10,000 blown glass objects, many of which I rejected. I varied the forms, moving back and forth between those that are organic, sharp and angular, loose, lidded, square and tight. But generally, they've retained a simplicity so as not to detract from the complexities of the surface treatments, which are my drawings. Whether these drawings follow the contour of the vessel or establish contradictory rhythms, I concentrate on integrating them so they do not appear as independent entities.

I always conceive and decorate my work in the round, that is, I take all points of view into consideration, and since the works are often transparent, the inte­ rior space is as important as the object itself. Addi­ tionally, I don't think of myself as a sculptor, as they are usually concerned with space outside of the ob­ ject. I see myself as a glass blower working in the container tradition while adjusting and playing with endless varieties of color, light and composition; those qualities inherent in the transparency of glass.

My desire is to lead you into one of my vessels...to have you look around and explore the beauty of form and detail, the command of colors and the amazing refrac­ tion of light unique to glass.

Princeton, (pop. 500) is my main source of inspira­ tion. Of course the other is my son Wesley. The tran­ quil pace of life here lets me study a single form at a time and to become involved with that form. Though some of these forms have been in my conceptual bag for years, others may only be there for a week. As to problematical forms, I know that sooner or later they will be resolved. Now that I no longer fret about being inspired by the history of container forms, I'm free from the visual overload of my Chicago days. I find that dragging things out of my head is easier. Somehow, it reminds me of Richard Dreyfus in the movie, Close Encoun­ ters. He imagines the shape of a mountain of which he has no prior knowledge, no idea of what it "is." Eventually it becomes a reality, a form with "being." Princeton has in effect, allowed me to be, to slow down and consider my life as a glassmaker.

—Wes Hunting Mr. Hunting was educated at Kent State University in Ohio. His work is in several mu­ seum collections in Wisconsin and can be seen locally at The Gallery Ltd., 1030 E. Juneau Avenue. The Corning Museum of Glass recently purchased one of his vessels.

24 Art Muscle S B P E R C D DLE D HMD [ Hi I C L E A learning experience in glass and decorative art

The decorative arts have always been a point of fascination for the democratization of society was responsible for this burst, me. Since childhood, I have been exposed to a wide variety of which started in the late 18th century and continued through­ European and American furniture, but it was the Continental out the 19th century. and American glasswares that my mother collected that helped shape my interest in glass. Little did I know that 25 years later I Some would call the 19th century the Golden Age of glass, for would curate a show at the Milwaukee Public Museum dealing it produced art glass for a competitive market as well as innova­ specifically with the glass arts ofthe 19th century. tive techniques for coloring glass. Innovations which brought us names like Amberina, Peach Blow, Burmese, Pomona, Sil­ Over the years, my historical training at Marquette and the Uni­ vered glass and iridescent glass. They filled the marketplace versity of Wisconsin-Milwaukee took me far afield in socio-eco­ and found their way to many Victorian era American homes nomic and political affairs and far away from the decorative arts. where they were both I focused on the expansion of Europe and the growth of Euro­ decorative and fully pean America through the early part of the 19th century. My functional vessels. job at the Milwaukee Public Museum combined this training with a specialty in collections care and material culture interpre­ Innovation, of course, tation. It's here that my interest in the decorative arts was re­ is tempered by the con­ kindled and brought to the fore. As a curator, I interpret the straints of the medium history and culture of a variety of objects, presenting them in and the desires of the frameworks that explain their technology, artistry and social sta­ market; however, the tus to the viewing public. Occasionally, this includes the spirit market was open to behind the objects. nearly anything decora­ tive due to the the bur­ The glass collection at the Milwaukee Public Museum is one geoning middle class of that embraces all of the qualities of culture as it winds its story Europe and America. throughout human history. From ancient times to post-modern They too were eager to society, one finds glass everywhere, consequently, it would enjoy the high culture seem to have some meaning for almost everyone. But is ev­ so long reserved for the eryone aware of its double life as an object of utility and an upper class. They too object of artistic expression? demanded beauty, style and functionality in their glass pieces. Plates, tumblers, candlesticks, curtain-rod ends, vases, and bowls Fortunately, this collection is not only one ofthe most complete fell from the presses, molds, blowpipes and pontil rods like rain. in southeast Wisconsin, but it also encompasses a large selection Many pieces were finished by hand with a wide variety of en­ of American glass complemented with Continental, English, An­ graving, cutting, etching and enameling processes. cient (Egyptian & Roman), Islamic, Oriental art glass, and everyday glasswares. The collection has The highest forms of engraving and cutting were practiced in been without a curator since 1990, but England, Ireland and the Continent throughout the 19th cen­ is in good hands, thanks to the work tury. Brilliant-cut Irish crystals were made with water or steam- of specialty volunteers and the staff powered cutting wheels. Panel-cut overlay glass poured from in the History Section. Bohemia, and exquisite hand engraved cameo glass objects, rare and precious, came out of England. In fact, Milwaukee has an In 1994 the death of long­ extraordinary example of this precious glass art form. Made by time museum supporter Mrs. William Northwood, it's a cameo glass plaque entitled, Venus In­ Louise Uihlein Pabst Snell structing Cupid. Look for it at the entrance to the Museum's Uihlein brought the gift of a signifi­ gallery. Engraved over a 12 month period in 1895, it is delicate, cant collection of English detailed, and a tribute to the artist. I should add that the spirit and Continental overlay glass behind this history is that the artist had the use of only one arm. to the Museum. In early 1995, the History Section lo­ While influences from the Orient competed with the Victorian cated a magnificent piece of eclectic, the Japanese added an appreciation for natural line and English cameo glass and pur­ negative space to the glass arts. The European traditionalist chased it for the collection, all of sought the sturdy shapes and historical motifs of the Renais­ which prompted the development of sance, motifs which greatly influenced the Arts and Crafts, an exhibit to showcase the items. This Historimus and Art Nouveau movements and designer/manu­ in turn allowed us to display previously un­ facturers like Tiffany, Loetz, Moser and Carder. Be that as it seen glassware from the collection, to interpret may, it was mass produced, simply colored, and heavily deco­ 19th century attitudes, and to explain some of the technology rated glasswares that occupied the middle class and common that made these pieces possible. market. Art Nouveau dominated fashionable glass. Eventually the heavily decorated Victorian clutter was swept away by Mod­ I'd been so long apart from the decorative arts, that my first task ernism and replaced with stark simplicity and the individual vi­ was to begin readings and research into cameo and overlay glass. sion of the artist. These seeds, this simplification of the glass This led to further research into the methods of manufacture of arts, set the stage for 20th century glass arts, but it surely was many types of glass, followed by discussion with curators and the 19th Century that was glorious. dealers throughout the United States. Joan Mosby, the Museum's Honorary Curator of Glass, guided me to sources and points of It's all been quite an experience I've learned that there are al­ discussion that renewed my interest in the technologies and the ways stories to tell, though to seasoned ears, it may seem that people behind those technologies. As my views took shape, The they are told too often. But aren't these the stories that teach us Glory that was Glass exhibit emerged as a look at decorative and the most? Aren't these the tales that tell of values, traditions and technological innovations during the 19th Century. With that past lifestyles? The tales that prompt inquiring minds and creative came a special interest in the interplay between societies as they hands? Art may be a state of mind to some, an act of doing to exchanged ideas about glass making. others. At The Glory that was Glass exhibition, you'll find a blend of where we've been, who we are, and what defines the human spirit. This process of creating an exhibit was all very fascinating. I The fruits of those efforts will be exhibited through 1996. learned that 19th Century glass was varied in style and method of manufacture. I learned that craftsmanship based on an­ cient techniques combined with industrial experimentation —Albert Muchka resulted in bursts of creativity, both artistic and technical. One An Assistant Curator and Collection Manager in the History section can safely say that industrialization and the freedom born of ofthe Milwaukee Public Museum, Muchka is a native Milwaukeean.

25 IJriinnif n n n i M h MII H Y H\ II HI hi I i i i i if 11 i • W kP B# k WI

THE FOLLOWING ESSAY WAS SHAPED BY EXCERPTS FROM ELISE WORMAN'S MAY 1995 MASTER OF FINE ART THESIS FOR THE UNIVERSITY OF WLSCONSIN-MLLWAUKEE:

...I began making bud vases in the form ofthe human body about two years ago. The first few vessels I made were only marginally successful, and were extremely difficult and challenging. Though I worked on them for well over a year, today they remain in a box, cut apart and unfin­ ished. I learned a lot while working on those pieces...

While Native Americans see the world as a unified whole, whose parts are totally independent and whose reality is greater than the sum of the parts, the western construct sees time as linear, material and pro­ gressive. In Native American philosophy, time is sacred and cyclical and is of all worlds, natural and supernatural, ancestral and contem­ porary. It's a world where the inhabitants are equal and balanced, a world to which I am particularly attracted. To that I added Gestalt psychology/theory, a concept ofthe theatrical, and my personal sense of aesthetics, all of which precluded the development of the spatial relationships and presentation of Memory 1961.

I decided to place the two bud vases side by side, each slightly turned toward the other. The vases, though they represent women as indi­ viduals, are also vivid memories of two nurturing women who comple­ mented each other while being primarily concerned with the well- being and development of myself and my ten siblings, i.e. they guided us into adulthood. The figures gain even more importance on their high pedestals, for in order to place a bloom (the bloom represents the head) in the vessels' interior, one must reach up. To view the bloom one must also look up, in much the way that a child would have to look up. Finally, it is only when a bloom is within the vase that the sculptural form ofthe figure is complete. Just as these two women stood side by side in this life to guide me, I believe they are still to­ gether in their spiritual life and continue their guidance within that realm of existence.

I selected metal to reference skin in these vases. One, constructed of silver, tells of my birth mother, a white woman. The other, made of bronze, is richly surfaced with brown pigment, embellished with multi­ colored marks, and speaks of Bert, the African American woman who was my second mother. She represents not only a mother figure to myself and my whole family, but is also a care-giver to my birth mother. In using the same smooth and elegantly abstracted form to represent each mother, I was able to show their similarities.

These guardians are 2' tall. When combined with the height of their pedestal they become even more monumental, similar to large memo­ rial statues or ancestor figures. Of course, the blooms which they hold are destined to fade, die, and be replaced by other blooms, thus re­ calling the cycle of life, and reminding me to give thanks and to daily pay respect to my two mothers.

As a metalsmith, I use both body and mind to fabricate objects in­ tended to interact with the body and mind ofthe viewer. It's a con­ cept born of seeing the human as vessel and gesture, and it makes a strong statement about who I am and where I fit into contemporary metalsmithing. It's all about personal communication, and while it may function on many levels, it's the tactile interaction with each piece that is ultimately the most satisfying.

During the construction process, I handle each part ofthe whole many times. Each time I handle a part it puts me in touch with the Gestalt theories, and it continues to fascinate and delight me as I transform the images in my head to the physical realities taking shape in my hand. As I work at my craft (yes, it is a craft, though western culture has given the word a negative connotation), I think about those who I may buy the piece, those who will live with it each day. I want them to sense through that daily use of the functional and the beautiful the same joy I experience while making an object by hand. Through that, they may learn about memory as vessel.

ELISE WORMAN A working artist, Elise Worman teaches at the University of Wisconsin-Milwaukee.

26 Art Muscle n i n a IJr-binnif n K i h i M r M I K Y U I • • I I fcf I 1 U II ^

£?#/ if absolutely stubborn, and "working" it is a conster­ steel used in fashioning knives, gun barrels and ceremonial objects. When manu­ nating ordeal that metalsmiths face daily. At times this factured steel, which required less labor and produced more accurate gun bar­ process resembles the art of alchemy, for in attempting to rels, became available, this ancient process disappeared. In recent years, transform something common into something precious, metalsmiths have rediscovered Damascus and are again using it as a richly things can easily go awry. The surf ace fusion for instance, patterned element for works of sculpture. and three weeks of hammering to raise a piece of brass is gone. Copper is more forgiving and much easier to raise, Modern metalsmiths are reintegrating the traditional into today's metalsmithing vocabulary, and this reintegration encourages the use of these techniques in but only the stubborn brass will accept a silver fusion. In } ways other than the strictly traditional. This allows for transformation, for new the end, the metalsmith is bound by the final vision. It s meanings. At the same time, it leaves room to respect what's behind while this vision that makes fine metalsmiths a stubborn lot, too. looking forward.

The solid traditions and techniques of Making well-crafted works sometimes leads to false perceptions, much like seeingI I jewelry making and metalsmithing stand spots that exist only on one's eyeglasses. Metalsmiths can be seduced by the beauty of at the crossroads these days. Look around metal, by the beauty of ornamentation, and this adds to an already complex set of at what's being offered as academic train­ considerations. ing, check the majority of the jewelry stores, and it becomes apparent that a There seems to be a current urgency, a push to make sculptural works by once great field is on the decline. Hol­ employing jewelry and metalsmithing techniques. Perhaps this has its roots in low-ware, utensils, weapons, clocks and the concept that metalsmithing is considered to be an antiquated and cumber­ jewelry, were at one time the heart of di­ some medium of expression. That it is, after all, a craft, and as such, it carries verse cultures, for they signified the a stigma. Breaking out of this stigma may indeed be a necessary step to avoid power of guild members, those being bound to utilitarian concerns, and ornamentation as a device of control. craftspeople who treasured objects for their permanence, for their history of However metalsmithing is pursued, it must be done with "voice," be that "family." In some cases, these objects still political, social, or personal. Only this will liberate it from the world of craft. exist as family history, but most are in And that takes artists who dare to make the leap. Artists like the ones who are museums, beautiful relics that escaped the making narrative pieces, for example. How refreshing to see the human condi­ march ofthe Industrial Age and the mass tion represented in this manner by metalsmiths freed from working strictly production mentality that signaled the through pattern and/or technical virtuosity. How good to know there are explosion of poor quality and the wor­ metalsmiths as stubborn as the very metal they work. ship ofthe temporary. The global distri­ bution of these quick-fix products has The bourgeoisie cannot exist without constantly revolutionizing the instruments further removed the designer from the of production, and with the relations of production, and with them the relations process. In order to survive, metalsmiths of society... Karl Marx need to reinvent themselves. •fsPHW&.'Siu/tp- —Evan Larson It is difficult to secure a place in the jew­ Larson is a metalsmith and recipient of a 1995 Art Futures grant. Mary Gray elry industry, because the very industry is a free lance writer. is driven by forces at odds with its foun­ dations. As for the possibilities of teaching metalsmithing within the university system, competition is keen for the approximately two teaching jobs that open up each year in this country. So one may as well set aside those avenues of survival. What's left? The galleries and the grant-giving circuit?

True, there are jewelers in today's market who still make one-of-a-kind pieces. But that in itself does not free the metalsmith from the political undertow of the history of metalsmithing, where the shadows of jewelry cliches (wedding rings as social control, gold and precious stones as power symbols) continue to stalk those few artists searching for relevance in this century.

You remember the movies where the powerful guy buys the glamorous woman the sparkling string of DIAMONDS and seductively encircles her throat with them. Suddenly her life is changed forever. Jewelry, of course has always been glamorized, but people were not supposed to notice the underlying taint of obligation, and ownership (nowyou're mine!) that accompanied the gift. The unmentionable was: "The pricier the jewelry, the greater the obligation from the gifted to the giver."

The DeBeers family of diamond fame polished the commercial aspects of dia­ monds by gifting celebrities with expensive glitter. The trade-off was simple. Major stars would wear them in their movies or in a variety of movie maga­ zines and other media venues. Shazam! The value ofthe gems rocketed. The diamond as industry was launched and fortunes were made. Mostly for the DeBeers clan. Certainly not for those who labored and still labor below the surface ofthe earth as miners.

Thel970's were a time of liberation, of independent thinking and the ques­ tioning of social values. Metalsmiths were no exception. They too began chal­ lenging the concept of precious jewelry as status symbol.

It's difficult competing with other art forms. Many reviewers, when critiquing metalsmithing, don't venture much beyond the comment, "well crafted. * They simply do not understand that creating a new series of work can take years for a competent metalsmith. Larger works take even longer, (in metalsmithing terms this means anything larger than a breadbox). And then there is the two-edged sword of any media coverage. It can be a good thing because it attracts people to the work, but it can be bad when reviewers fail to address the larger artistic issues in the metalsmithing process and in doing so, perpetuate the old stereotypes.

Advancing technology has also disrupted traditional techniques. At one time, an ancient process of folding metal into beautiful woodgrain patterns, a pro­ cess referred to as "Damascus" was highly prized. It resulted in a harder, sharper

27 Linda Schnoll Originals 10050 N. Port Washington Rd. ^f Mequon, WI (414)241-1116 Charles Allis Art Museum Finest gems & jewelry at affordable prices Arts Organizations: Please add Art Musde to 1801 N Prospect; 278-8295 your mailing lists Now-December 3 - Wisconsin Handweavers

Travel to a place 901 W National Avenue City Grille Milwaukee, WI 53204 1692-94 N. Van Buren; 273-2489 where holiday Attn: Megan Powell Now-December 31 - Paul Mandracchia, Drawings; FujieYamguchi Moses, Watercolors wishes do come 414/672-8485 Please submit calendar listings for February/ David Bamett Gallery March in writing on or before January 10, 1024 EState; 271 -5058 1996. Include dates, times, single ticket price, December 1-31 - Pastel Anthology location & phone number. Also note thatweare January 1 -30 - A Survey of Artists from Linda Schnoll Originals no longer using our PO Box number. Unless Rembrandt to Picasso otherwise stated, all phone numbers are area November 24 thru December 24 code 414 Frederick Layton Honor Gallery Cardinal Stritch College, 6801 N Yates; 352-5400 For specific information on events, please call December 3-22 - Senior Art Exhibit listings in advance January 28-February 29 - Wisconsin Baskets

Galleria Del Conte 1226 N Astor; 276-7545 «f Now-January 6 - Hidden Treasures Gallery 110 Norm » Alfons Gallery Mill & North, Plymouth; 893-0079 1501 S Layton; 672-3418 Now-January 2 - Self-Juried Holiday Mem­ Ak Now-December 10 - L'Chaim-To Life! bership Exhibition i^AAAisAA Cat Lady Jens Carstensen 18" x 31" oil on canvas Gallery 218 tf •• Cr •.•• Alverno College Art & Cultures Gallery 3401 S 39th; 382-6149 218 S 2nd; 277-7800 Now-December 16 Now-December 10 - Art in the Round Alverno College Art Faculty Exhibition December 9 & 10 - Feliz Navidoodads C, 3055 N. Find the perfect Anderson Arts Center Haggerty Museum of Art 121 66th, Kenosha; 653-0481 Mcrquette University, 13lh & Clyboum; 288-7290 gift and get Now-January 7 - Frost & Fantasies December 8-February 11 M brookfield U. Against the Grain: A New Look at Joe Jones & your purchase Art Elements Gallery JB Tumbull's 1930s Liquor Store Murals 10050 N Pt Washington; 241-7040 Hermetic Gallery price refunded Now-December 31 I Brookfield. WI Giving for the Creative Spirit 820 E Locust; 264-1063 n December 2-23 - Holiday Card Show if it snows 3" Artistry Studio Gallery January 13-February 17 - W7//»e Gregory 833 E Center; 372-3372 or more on December 2-24 - Yuletide Gifts Instinct 6 o 725 N Milwaukee; 276-6363 New Year's Eve. Bay View Gallery Now-January 6 - Critters 3046 S Delaware; 744-6858 January 12-March 8 - Sticks & Stones Refund applies if it snows on New Year's Eve. December 1 -January 6 Purchase price (excluding sales tax) will be .3 CarlM Ruppert, The Gamut of Concrete Visions John Michael Kohler Arts Center refunded. See store for rules. 608 New York, Sheboygan; 458-6144 Fine Arte 760-0613 Cafe Melange Now-January 7 720 Old World 3rd; 291 -9889 Conceptual Textiles: Materials Meanings January 19-April Now-January 28 - Judith Schaechter: Modem Karen Bergerson, Peter Tibbs, Dan Clark Martyrs in Stained Glass; Customary Objects: Metalworks by Lisa Norton Judith Schaechter, Bride, 1995 January 28-May 12 - Beyond the Male Pale

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STEEL EASEL PORTABLE & STURDY • BEST EASELS YOUNG ARTIST UP TO 27 INCH CANVAS • SOLID OAK EASELS 7 TILTS HORIZONTAL FOR MADE IN AMERICA « KIT 50 INCH HIGH ' WATERCOLORS -FOLDS MANY STYLES TO EASEL WITH A 16x19 TO SIZE OF UMBRELLA • CHOOSE FROM CHALKBOARD AND ASSORTED COLORS 10%OFF ON STYLES SOME ART SUPPLIES -TM-95 39.95 IN STOCK -42^0 24.95 ARTISTANDDISPLAY 9015 WEST BURLEIGH 442-9100 MWF 9-6 • TUE & THUR 9-8 PM • SAT 9-5 • SUNDAY 12-4 28 Art Muscle OU T THERE

'Enlightenment Embodied' at Kohler Arts Center r Disturbing contemporary issues are actually 'illuminated' in Pennsylvania artist Judith QOOD SchaechteKs stained glass works, now on view in her sob exhibition, Judith Schaechter: Modem Martyrs In Stained Glass, at the John Michael Kohler Arts Center. Drug addiction and child abuse are just two of the topics Schaechter tackles through the breathtaking HOLIDAY medieval medium, which, she has noted, is 'enlightenment embodied.* Schaechter, an NEA fellow and member of a punk rock band, Ken, is a skilled craftsperson who uses techniques and materials employed in the Middle Ages. Handblown European 'flash-glass,' brilliantly STUFF! colored, is cut and ground, fit to a cartoon model, and then painstakingly sandblasted, enameled, engraved, etched and painted to achieve detailed effects and patterns. The resulting beauty draws the viewer into the difficult subject matter, as in Toads, an apparently placid water lily scene which actually addresses the repugnant practice of teenagers who put firecrackers in toads' mouths. Modem Martyrs in Stained Glass continues at the JMKAC, CLASSES, WORKSHOPS, REHEARSAL SPACE 608 New York Avenue in Sheboygan, through January 28. AND PERFORMANCES.

ART & FRAMES Children's Classes: Katie Gingrass Gallery UWM Union Art Gallery Creative Dance, Tap, Ballet & Jazz 241 N Broadway; 289-0855 2200 E Kenwood, 1 st fl; 229-6310 GRAVA GALLERY Now-December 31 - The Glass Eye Now-December 8 - The Figure in Art: Figurative • December 1 -January 31 - Judith Kinghorn Work by Area Artists 1209 EAST BRADY STREET TUE-FRI10-6PM • SAT 10-5PM Adult Classes: January 1 -February 28 TELEPHONE: 277-8228 Ray Hart! & Nancy Schieferstein West Bend Art Museum Stretch, Ballet, Modern, Yoga, 300 S 6th, West Bend; 334-9638 T'ai Chi Ch'uan, Tap, Jazz & Funk Leenhouts Gallery Now-December 3 - WolfKahn:RecentLanascapes 1342 NAstor; 273-5257 Now-January 7 - Early Wisconsin Art from the Starting in January: Afro-Cuban, Now-December 29 - Three Women: Diverse & Permanent Collection Carribean, Flamenco, Beledi As One December 6-January 7 - Friends of the West Bend Art Museum & Washington County • Leigh Yawkey Woodson Art Museum Residents Annual Art Exhibition Looking For Performances 700 N 12th, Wausau; 715/845-7010 Now-December 31 Woodland Pattern Book Center Jean Despujols: Indochina Odyssey 720 E Locust; 263-5001 Betty Salamun's DANCECIRCUS January 6-February 24 - Print Phenomenon Now-December 31 The Perfect Maureen Janson Playing the Angels by Throwing Curves: Lincoln Art Pottery Bookworks by Maria Gomez & Ivan Sol Decembers 636 W Lincoln; 643-9398 December 2-January 6 Wriston Art Center Galleries Jewelry Gift? Ed Burgess: New Age My Ass The Importance of Being Barbara Lawrence University, Appleton; 832-6585 January 26-27 Now-December 10 - Whirligigs & Mamie Pottery Wealhervanes With Custom Design 2711 N Bremen; 374-7687 January 12-March 10 - Frederick Layton Vis­ Call for a Class Schedule or Season Brochure December 2 - Holiday Open House iting Professor: Charles Timm-Ballard Everyday, We Can Help. Milwaukee Art Museum I DANCEWORKS 750 N Lincoln Memorial; 224-3200 B-dyct Now-December 3 - 20th-century Master Prints Planet Bead 3195 S. SUPERIOR STREET from the Permanent Collection 714 N. Broadway Milwaukee, WI 53207 Now-January 7- Shaken, Not Stirred: Cocktail Just North Of Wisconsin Shakers & Modem Design Danceworks 11-6 Mon-Sat, 11-3 Sun 414-481-2010 Now-January 21 - Talking Pictures: People Speak 481-2010 414-223-4616 About /ne Photographs hat Speak to Them December 8 & 9 Now-February 4 - Prairie School Collabora­ Betty Salumun's DANCECIRCUS & tors: Frank Lloyd Wright & George Mann SMARTDANCE/Maureen Janson & Dancers Niedecken Modjeska Theater, 1134 W Mitchell December 15-March 24 - Rembrandt to Warhol: January 26 & 27 HOLIDAY SHOW Portrait Prints Ed Burgess: New Age My Ass January 19-April 14 - A History of Photogra­ Alverno College, Wehr Theater, 3401 S 39th tejgj* ORIGINAL ART phy from the Permanent Collection All performances 7:30pm $12/$8 ^•SANTAS-ANGELS January 27-February 24 - 7 996 Scholastic Art Exhibition Milwaukee Ballet PAC: Uihlein Hall; 273-7206 Watercolor, Acrylic, Oil, Milwaukee Institute of Art & Design December 8-28 - The Nutcracker Pastels, Prints, Posters, 273 E Erie; 276-7889 Tu-Sa 7:30pm Su 7pm $12-$42 Now- February 3 Antique Paper m Al Balinksy. Wisconsin Flea Markets UWM Dance Program OHVO Now-February 17 mCUSTOM UWM Fine Arts Theatre, 2400 E Kenwood; The Spirit of Place: Vetter Denk Architects 229-4308 JEWELRY December 1 -3 - Wmterdances J 995; 8pm $7 Neo-Post-Now Gallery 719 York, Manitowoc; 682-0337 art, pottery, December 1 -January 6 & sculpture 3rd Annual Aluminum Christmas Tree Show JON tytyn JACOBS Silver Paper Gallery offered in &ASSOC. SOUTH SHORE GALLERY & FRAMING 217 N Broadway; 273-7737 q relaxed 2627 South Kinnickinnic Avenue • (414)481-1820 Now-December 22 ArtiGras 15* GREEN BAY Thomas Hoffman: Recent Paintings Brown County Expo Center, Green Bay; 435-2787 gallery ROAD THIENSVILLE Paul Calhoun: The Luna ofthe Ring January 27 & 28 20% OFF CUSTOM FRAMING Paul Druecke: Butter, Eggs & Tortillas (The Sa 10am-8pm Su 10am-4pm setting. 242*3424 with this ad Garden Parly January 20-March 30 Cedarburg Community Center Deb Grossf'ield, Mary Hood, John Shea: Two W63 N641 Washington, Cedarburg; 377-9620 Photographers & A Printmaker December 1 -3 ThatChristmas Feeling Art& CraftShow & Sale Bay Inkm Tory Folliard Galery F 10am-8pm Sa 10am-5pm Su 12-4pm $2.50 233 N Milwaukee; 273-7311 January 13 & 14 b-e-a-d Now-December 22 - Sue & Dick Evans Cure for Cabin Fever Antique Show January 5-February 9 - Spirit of Landscape erv Sa 10am-5pm Su 12-5pm $3 Gill ^3Q46 S. Delaware' J MilwauRee.JA/Jsconsin 53207 United Community Center Cedarburg Cultural Center 414-744-6853 presents 1028 S 9th; 384-3100 W62 N546 Washington; 375-9390 Now-December 22 - En DivinaLuz/ln Divine Light December 1 -3 ARTREACH Milwaukee Festival of Trees UWM Art History Gallery F 10am-8pm Sa 10am-5pm Su 12-5pm $2 Mitchell Hall, 3203 N Downer; 229-5070 Now-December 17 - Yearnings Cedar Creek Settlement The MaKe Your Own Washington Ave & Bridge Rd, Cedarburg; Tevielnf $tore UWM Art Museum 377-8020 3253 N Downer; 229-5070 December 1 -3 - Christmas in tfie Country Art & £107 N. Prospett r\ve Now-December 22 Craft Show & Sale Milwaukee Stale of the Arts: Wisconsin Visual Arts Awards F 10am-8pm Sa 10am-5pm Su 11 am-5pm $3 ZZ4-0555 Winners December 1 -22 - Festive Friday Eves; 5-9pm free The Gamut of Concrete Visions Robert Vogele: Graphic Design, The Chicago/ 08 mMition this ad for \0% off seen ^ CARL M. RUPPERT , Milwaukee Connection Opening Reception: December 1 -22 Friday, December 1,1995,7:00 - 9:00 pm AIDS' Dark Terrain: 12 Stations from a Yankee Show Closes January S, 1996 Pilgrim See the result of the energy that forms the universe and flows through the artist. Gallery Hours: Tues., Fri., Sat, 1-6; Wed., Thurs., 1-8 pm

29 OU T THERE January 12-14 Ten Years and SKll Crawling Pops: Harlem Spiritual Ensemble THk'fttR. F Sa 8pm Su 7:30pm $15-$50 You can "crawl* a little closer to completing your holiday shopping in early December— January 19-21 without leaving the corner of Second and Pittsburgh in Milwaukee. The 1 Oth Annual Studio Classics: A German Requiem Art Crawl at the 10 Walker's Point Building (133 W. Pittsburgh) December 8-10 is, after a F Su 7:30pm Sa 8pm $14-$48 decade, an event very much in demand. "People ask us all year when the Art Crawl will January 25-27 be," says organizer and 10 Walker's Point artist llze Heizer. 24 resident artists will open Classics: Zukerman & The Three Bs Acacia Theatre their studios and 15 invited artists will display their wares in the building's wide corridors, Th F 7:30pm Sa 8pm 3300 N Sherman; 223-4996 which translates into three floors of jewelry, leather goods, glass, ceramics, prints, photogra December 1-10 phy, furniture, books and more for the buying. Featured glass and jewelry artists include: ^mt #tt$t!t&$ tdtsftZTi K«fe&i>l>F»C'fe «r«i'©fc "itsftftt F»£i#vftiC'£ ifatBt vf fir F#R. MJL,£ Old Town Serbian Gourmet House The Christmas Roadshows Elite Burke, a self-taught artist and trained glassblower who creates sculptural bottles; glass 522 W Lincoln; 672-0206 F Sa 8pm Su 3pm $8/$5 artists Kathleen and Dale Eggert; and Debra Dembowski, whose jewelry in shapes of nude Strolling String Minstrels F Sa Su 7pm-close figures addresses interpersonal relationships. Art Crawl hours are Friday, December 8, 5 to Boulevard Ensemble 9 pm, Saturday, December 9,10 am to 5 pm, and Sunday, December 11,10 am to 4 pm. Pabst Theater 2252S Kinnickinnic; 672-6019 Admission is free. Call 272-4606 for details. 144 E Web; 286-8777 December 20-January 14 FINE-ART MASK MAKING # PAT HIDSCN January 16 - Hexagon 7:30pm Wenceslas Square an established painter, 1 January 19 - GuyLombardo's Royal Canadians Dec 20-21, Jan 7 7:30pm Dec 31 9pm ($15) F BY.VAL VAIL SAICHEK is now accept! no £»> 8pm$10-$20 Sa 8pm Su 2:30pm $10/$9 • Hi Mythic PRIVATE §TLDCNT§ Milwaukee Art Museum Y-Notll Rect-list Ph/mouth Church Concert Chorale Brady Street 750 N Lincoln Memorial; 224-3200 706 E Lyon; 347-9972 Visuals by: Tina Wilson, 2717 E Hampshire; 964-1513 Comedy Cafe, 615 Brady; 271 -5653 First Fridays 2nd & 4th Wednesdays Personal at studio 301, Tad Friedman, Doug Curtis, December 1 & 3 Improv comedy Tu 8pm Dec 1 - Michael Drake Band PoelrySlam 133 W. Pittsburfih. Keith Hahn, and others F 8pm Su 3pm $7/$5 Jan 5 - Juli Wood Quartet 8:30pm $2 Cast from your own features if desired Cheese your own medium, Dead Alewives 5:30-8:30pm $7/$5 THREE-DIMENSIONAL MASKS daytime hours. same PHONE same HOURS Present Musk Comedysportz, 126 N Jefferson; 272-8888 414-272-0277 MWF 10-6 December 3, January 21 & 28 DESIGNED FOR WALL-DISPLAY Call 224-6)344 or 963-C3S1 TTH 12-7 Broadway Theatre Center, 158 N Broadway; Alternative, uncensored improv comedy w/ live Family Sundays; 12:30-4pm free w/ admission 1601 N. Van Buren SL SAT 12-4 271-0711 music W 8pm Th 10pm vitsic Sid per hour Commissions Wdcomed (414)771-8747 January 5 Performing Arts Center New Year-New Music First Stage Milwaukee Bradley Pavilion, 929 N Water; 344-3933 8pm$20/$12 PAC: Todd Wehr Theatre; 273-7206 December 7 Bel Canto Chorus December 1 -24 A Holiday Celebration of Diversity: Tfie Spirit of Cathedral of St John, 802 N Jackson; 272-7950 St John'* Flogg Theatre A Little House Christmas the Nonprofit Sector, 5-9pm $15/$7 December 1 & 2 - Amahl & me Night Visitors; 1840 N Prospect; 272-2022 All performances Sa Su 1 & 3pm Oratorio de Noel; 8pm $20/$ 15 WATERCOLOR January 3 Studio Art Crawl EDEN Present Music Merry-Go-Round Children's Theatre 133 W Pittsburgh; 272-4606 Cathedral of St John l\ l\ l\ 2239 N Prospect; 277-9550 December 8-10 802 N Jackson; 224-0250 an alternative florist UWM Chorale A University Choir December 16 & 17 I CLASSES I Unique Gifts, Handmade Artist F 5-9pm Sa 10am-5pm Su 10am-4pm free January 21 - Chamber Ensemble: Bach & Beyond JEAN CRANE, INSTRUCTOR Pieces, and Cards. St Paul's Episcopal Church, 915 E Knapp; Beauty & the Beast 3pm $8/$5 Holiday Wreaths, Bouquets, Gift 229-4308 Sa 8pm Su 2pm $5 VICKI Baskets and Wrappings December 8 The Coffeehouse holiday card show^t Experienced and beginning painters. Delivery Anytvbere In The Christmas Concert Milwaukee Chamber Theatre 631 N19th; 744-3655 CHIGER Eight sessions, beginning March 13th—$155 Milwaukee Area Broadway Theatre Center, 158 N Broadway; Dec 1 - Holiday Food Pantry Benefit $2.50 & interpretation* INTERIOR DESIGN, INC. UWM Fine Arts Quartet 276-8842 2 canned goods of the form By \ Cedarburg— Studio: 375-2627 Fine Arts Recital Hall, 2400 E Kenwood; 229- Now-December 10 UWM Union Theatre Dec 2 - Fnd & Ethel; Ed Kurz hermetic:: Home: 375-8685 4308 Beast on the Moon 2200 E Kenwood; 229-4070 Dec 8 - Acoustic Open Stage $2 :: December 17- 11:30am $12 WTh 7:30pm F 8pm Sa 4 & 8pm Su 2 & 7pm 318W.CLOVERNOOKIANE Dec 2 - UWM Student Film Fest Dec 9 - Craig Siemsen & Pahy Stevenson artists^-..-. - Mon, Tues, Weds, Thu, Sat 10-6 January 28 - 3pm $12 $21 -$24 MIIWAUKEE.WI 53217 Extended Hours on Friday 10-8 Dec 3 - La Vie Est Belle 3pm free Dec 15- Poetry Night Elamberger Mikulay 7pm, $4.50/$3.50 unless otherwise noted Dec 16 - Harmony Sovereign : .::N0W(d|;?7. 789 N. Jefferson St., Milwaukee UWM Jazz Ensemble The Milwaukee Players Or-"- - 414-291-9514 Dec 31 - New Year's Eve Acoustic Open Stage Ofuedke Pearce - Fine Arts Recital Hal, 2400 E Kenwood; 229- Pitman Theatre, Alverno College, 3401 S 39th; 7:30pm $2 Stottrriao :' SPECIALIZING IN HOME DECORATION 4308 647-6050 Fetherstoti 351-4100 L LDK A N FOR THE HOLIDAYS L,tCTi>tztS 8:30pm, $3.50 unless otherwise noted Gregory: . Wafcrak December 17 December 8-10 the Guequierres :&.0nd other$ please call 7:30pm $6/$3 Something's Afoot Early Music Now FSa8pmSu2pm$13/$10 225-3113 2 December-23 December (LaO 63''-U35 3 Milwaukee Art Museum December 30 & 31 -Ensemble for EadyMusic: opening party Sat., Dec. 2 OUT THERE 750 N Lincoln Memorial; 224-3200 Daniel and the Lions Gallery Talks Sa 5 & 8pm Su 3pm $25/$ 15 Scottish Rite HERMETICgallery 12lh Century Comes Alive December 30 and 3T 820 o locust • MICE WI 53212 •414.264.1063 Dec 5 - Talking Pictures Cathedral, 790 N Van Buren Southeast Wisconsin's Leading Photographer of Fine Arts & Crafts 1:30pm free w/admission January 6-La Nef. MusicasparaJuana la Loco The newly-remodelled Scottish Rile Cathedral will be the site of perhaps ON even more 5pm $20 Broadway Theater Center, 158 N KsZSlMtt^tltTS spectacular visual—and aural—feast: a reproduction of the 12th-cenrury church play Daniel Milwaukee Institute of Art & Design Broadway JURY SLIDES and the Lions by New York's acclaimed Ensemble for Early Musk. Conceived in 1982 by 222 E Chicago; 276-7889 The Highest Quality of All EEM's director Frederick Renz for performance at what's loured as the world's largest Gothic Types of Arts & Crafts December 7 Festival City Symphony Torit§mr^5rap Neon" cathedral, ihe Cathedral of St. John the Divine in New York, Daniel has been applauded Tim Morse, MTV Networks; 6pm $15/$8 Pabst Theater, 144 E Wells; 963-9067 Wtn GalbraUh? Curator LARGE FORMAT worldwide, from Los Angeles to Hong Kong. The three Milwaukee performances on December 30 and 31 are sponsored by Early Musk Now, and take place at 5 pm and 8 pm January 28 - Romantic Impression 3pm $10/$6 For Brochures/Catalogues, Si John's Uihlein Peters Gallery Advertising & Printing of Your on Saturday, and 3 pm on New Year's Eve. The biblical story of Daniel, the Jewish prophet Fine Arts & Crafts who interprets the famous writing on the wall for King Belshazzar and was miraculously 1840 N Prospect; 272-2618 Grand Avenue Congregational Church ?£%- "The Spirit of Place: shielded from the lions, is sung in Latin and medieval French by a lavishly costumed cast of December 3 - Ruth Lull: "Art & The Christmas 2133 W Wisconsin; 933-2410 l7ft GUARANTEED QUALITY Vetter Jeiik Architects" 22, including three musicians on a variety of period instruments. Tkkets are available at the Story as Interpreted by Famous Artist* Through December 3 - Messiah Sing-Along 2pm free PAST TURNAROUND door, though advance reservations are recommended. Call Early Musk Now at 225-3113 tfie Ages" 3pm free Call for an Appointment or Quote for details. The Historical Keyboard Society of Wisconsin All Saints Cathedral, 818 E Juneau; 226-2224 'IWisconsin Flea Markets" Al White December 17 - Joyous Christmas Cantatas & SANDERS fcjFltfVJTcIkfe lgi> " BalinskyJ UWM Piano Chamber Concert Series Milwaukee Publ'tc Theatre Concertos 7pm PHOTOGRAPHIC SERVICES 414-352-3150 Enjoy the finest Authentic Thai Buffalo yy.f Fine Arts Recital Hall, 2400 E Kenwood; 229- Avalon Theatre, 2473 S Kinnickinnic; 769-6226 Cuisine In a luxuriant and 4308 December 26-30 Lawrence University relaxing December 3 Winter Tales Audubon Court Books Appleton; 832-6585 Thai Atmosphere Intertribal Store Visit to me Hermitage $2 383 W Brown Deer Rd; 351-9140 January 19 - Dale Duesing, Lyric Baritone Native American jewelry 3pm $12 Espresso Poetry 8pm$12-$16 Visit our Northwest location kachinas, pottery, fine art Milwaukee Repertory Theater Dec 7 - Parkman Jr. High Students Milwaukee Institute —76th and Good Hope— ofArt&Design tapes & CD's, greeting cards UWM Symphony Orchestra 108 E Wells; 224-9490 Jan 4 - Phyllis Wax, DeWitt Clinton, Lynn Milwaukee Choristers £VJA£^£Qp'^QRK 67H179 273 Em Enc Siren Mitauker. WI 33202 buffalo meat, ribbon shirts UWM Union Ballroom, 2200 E Kenwood; Powerhouse Theater: Shoemaker St Moncia Church, 5681 N Santo Monica; * THE KING AND i Siit« 4»5 trsussarmir« 35mm 229-4308 December 3-January 7 7pm free 355-8030 RESTAURANT sHe / Zl ( 30.Ser»"me MHwavhc's Mon,Tu,Th:10-6 Gift December 2 Season's Greetings December 15 & 16 finest Htustrat nr s an< artists. Wed: 10-8 Songs & Stories with Santa January 14-February 18 Cafe Melange A Royal Welcome Christmas Concert Phone 276-4181 • Reservations Taken certificates Fri, Sat: 10-5 10:30am $6/$5 Playboy of the Western World 720 Old Wodd Third; 291 -9889 8pm $7/$l 8 families 823 N. 2nd St., Downtown Milwaukee available Sun: 12-4 $8428 Mondays feVfeVTS — Waukesha Symphony Orchestra Stiemke Theater: PoefsMonday Open mike&fealuredcicb8:45pm Milwaukee Symphony Orchestra Holiday Hours: 546-4428 Carroll College, Shattuck Auditorium, January 21 -February 11 PAC: Uihlein Hall, unless otherwise noted; 273 - Mon-Sat: 10-8 7629 W. Becher Waukesha; 547-1858 All in the Timing East Library 7206 Sunday: 12-4 2 blocks north of Lincoln Alexander and Radmila Radiccvich's December 5 $15/$19 1910 E North; 964-3463 December 1 -3 Holiday Pops Stackner Cabaret: Soot Reviews Pops: Shirley Jones, "Home for the Holidays" 7:30pm $10-$18 Now-December 31 Dec 9 - A Christmas Memory, Truman Capote F Sa 8pm Su 7:30pm $15-$60 Cli Shine On, Harvest Moon 11 am free December 2 & 3 CENTURY HALL Wisconsin Conservatory of Musk January 13-March 3 Kinderkonzerts: The Snowman/The Snow FIWftffcV# 1584 N Prospect; 274-5760 Quality Time People's Books Maiden Established 1971 December 8 $14/$10 3512 N Oakland; 962-0575 Sa 4pm Su 2pm An Evening of Claude Boiling AJIperformancesTTh7:30pm W1:30& 7:30pm December 14 December 7-10 SERBIAN Museum quality frames at wholesale prices. 5pm$10/$7 F 8pm Sa 4:30 & 8:30pm Su 2 & 7:30pm A Few Bricks Shyw/ Hodge Podge Press Poets Cathedral Consorts: Handel's Messiah GOURMET Reusable exhibition hardwood frames in Pabst Theater, 144 E Wells: 8:15pm open stage 7:15pm free Th-Sa 8pm Su 2pm $12-$16 St John's Cathe­ HOUSE white ash, hard maple, & cherry. Standard & December 1-23 dral, 802 N Jackson custom made sizes. Spacer, strainer, spline A Christmas Carol Schwartz Bookshops December 16 "A Deliahtful Experience" options. Fast delivery. Floater frame options Performance Art call for times $7-$25 274-8680 for lunch or dinner 100m Anniversary, Calvary Baptist Church for canvases on stretcher bars in standard Writers to Readers Series 7:30pm free Selected wines, liquors, and non standard depths. Buy direct from Next Act Theatre 17145WBIuemound: December 29-31 and homemade desserts TWENTIETH Manufacturer and save. Call for free color Mad Hatter Performance Series Stiemke Theater, 108 E Wells; 278-7780 Dec 11 - Amy Tan Classics: A Clastic Viennese New Year Strolling string music catalog. Foothold Studio, Lincoln Center for the Arts, Now-December 1 7 10976 NPt Washington: F Su 7:30pm Sa 8pm $14-$48 REUNION PartyNrooms available 1-800-626-3139. rm 110, 820 E Knapp; 276-2243 Noel & Gertie Dec 12 - John Berendt January 11 WEDDING PHOTOGRAPHY Gift certificates Credit cards accepted January 24 Th. 7:30pm F 8pm Sa 4:30 & 8pm Su 2 & 6pm 7pm unless otherwise noted free Classical Conversations: Tchaikovsky METROPOLITAN SAVE THE DATE (3 LINDA KIMPEL Artists encouraged to share works in progress 7:30pm $9-$20 Pabst Theater, 144 E Wells 522 W. Lincoln Ave 8pm donation requested -JUNE 22,1996- .(414)671-1232 <414) 672-O206 PictureR'aming

30 Art Muscle 31 OUT THERE UWM Art Museum Boulevard Offers Human and Holiday Spirit mm Art Though it's not a Christmas play, Larry Shue's Wenceslas Square, which will be staged by the State of the Robert Vogele: Boulevard Ensemble in December and January, "in many respects is about giving," says the Art Graphic Design Wisconsin The History production's director, Maureen Kilmurry. Shue, former resident playwright at the Milwaukee Visual Arts Chicago/Milwaukee Repertory Theater and best known for his raucous comedies The Foreigner and The Nerd, Awards Winners Connection Gallery crafted this warm, thought-provoking play in the 1980s; it was produced posthumously at the Public Theatre in New York and also at the Milwaukee Rep. Wenceslas Square follows the through December through December 22 Yearnings story of a college professor from Cementville, Indiana who started writing a book on the In addition to provid­ exciting and often subversive theatre of Czechoslovakia after the "Prague Spring" of 1968. Seventeen ing extensive support through December 10 artists from to the UWM Aft Museum, He returns to the now-solidh/ Communist country in 1974, accompanied by one of his across the state over the past seven Yearnings is an students, to finish the book. What results is a situation where the completion of the book were presented years, the graphic interactive multime­ with awards from design f i rm f Ottoded; by dia installation that could endanger the lives of the dedicated Czech theatre artists. The play runs December 20 the Wisconsin Robert Vogele, VSA incorporates personal through January 14 at the Boulevard Theater, 2252 S. Kinnickinnic. Call 672-6019 for Arts Board in Partners, has handled ; and collective memo­ details. 1994. These major design assign­ ry/experience through artists will be ments for Harley- spoken: word, perfor­ featured in a Davidson, Inc. These mance, and video. The group show which projects include the •Work was inspired by Northern Stage Company acknowledges annual reports from •: '•••••••:; recorded personal their contribu­ 1990 to the present, spoken narratives of UWM Fine Arts Theatre, 2400 E Kenwood; TV & Msi& tions to cultural catalogs, posters, African-American and 229-4308 climate of the90t h Anm versary,,?• ^Caribbean women fac- state. The History Book arid other C: ing transition and December 6-17 artists work in collateral material., ,s: discontinuity inside Cinderella the mediums of the African Diaspora. WTh 7:30pm F Sa 8pm Su 2:30pm (Dec 16 .i!"|: think of it as a Alternating Currents in 20th Century Music painting, print- Other VSA clients ..-"'' 2:30&8pm)$14/$12 making, photogra­ include the Chicago /kitchen table per­ Sundays phy, sculpture, Board of Trade; formance1 which will textiles and fur­ Ameritech, Playboy continue to change DJ Hal Rammel 6:00pm WMSE 91.7 FM niture. International:, -H20+, with:the inclusion of Racine Theatre Guild The artists are: UtiliCorp United, new voices, experi­ 2519 Northwestern, Racine; 633-4218 Brett Angell, Potlatch Corporation ences and perspec­ Guitar Nuts Marna Goldstein and Arthur Anderson & tives;" says exhibi­ Now-December 17 Mondays Brauner, Jack Co. SC. tion organizer Portia The Wizard of Oz Darner, Laura Cobb. During its For guitarists & fans; Channel 14 9pm Warner January 19-February 11 Cablel 4 & Viacom 11B 353-5052 Dronzek, Kevin The exhibit at,UWM . :•;' installment in the Earley, James and will fe a t u re > ex amp1e s : gallery, spectators Out of Order Rene Tngebretson, of graphic d&sJigji, wi 11 be asked: ; to F Sa 8pm Su 1:30 & 7pm $10.50-$l 3.50 Steven Feren, corporate identity and ;rnteraet by adding Joy Farm Steven Foster, marketing cbimunica­ their own experi- Mondays Skylight Opera Theatre Sheila Held, tions produced by VSA. ences/stori es to -thi s; Milwaukee's cutting edge video performance Drake Hokanson, The firm has been rec­ work in progress. Broadway Theatre Center, 158 N Broadway; Chuck Johnson, ognized, this year troupe M 10 pm Warner Channel 14 Suzan Pitt, John alone, by over 25 of Portia Cobb is an 291-7800 Roth, Pamela the most respected Assistant Professor Now-December 23 Milwaukee Symphony Schermer. Tom international design Win the Film She Loves Me Uttech, and Scott and business publica­ ,- -Department at UWM. Thursdays Zupanc. tions and award compe- F Sa 8pm Dec 3,17,19,21 7:30pm Dec 6,10, 8pm Classic WFMR 98.3 FM 17,20 2pm January 24-February 11 Notes from 52nd Street UWM Fine ArtmMlery Galatea: An Unexpected Love Story $18-$39 With Ron Cuzner Graduate thesis Show F Sa 8pm-2am Su 11 pm-2am Smooth WFMI Sunset Playhouse 106.9FM November 26-December 10 800 Elm Grove Road; 782-4430 Opening reception: Now-December 3 November 26-from 2-4 pm Greetings Ete Burke, Koko Pelli, 1995 Exhibition of Master's Th F 8pm Sa 6 & 9pm Su 2 & 7pm $10 Thesis candidate Judi Golomboski.

For additional information about exhibits, call 2 2 9^5 07 0. After hours call 229-5858 for a recorded message.

Explore the possibilities of the versatile airbrush: for illustra­ tion, photo retouching, T-shirt painting, cake decorating, fingernail design, model paint­ ing, taxidermy, ceramics, sign/ poster painting, stenciling and much more!

We stock a wide selection of lAy*****. airbrushes, air compressors, airbrush accessories, colors The Badger 150-7 Set and replacement parts. Reg. $115.00 Sale $75.00

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Waukesha Civic Theatre Where the Waters Meet 506 N Washington; 547-0708 342 North Water St. 1325 East Capitol Dr. Wifh Christina Zawadiwsky December 1-17 Milwaukee, WI 53202 Shorewood, WI 53211 7pm Fridays simultaneously on Warner Chan­ A Child's Christmas in Wales 414-272-3780 414-963-1346 nels 14 & 11B, repeated 2pm Mondays, Tues­ F 8pm Sa 2pm Su 1 & 4pm $5/$3.50 Mon-Fri 8:00-5:30 Mon 9:00-7:30 days, Wednesdays on Channel 14 January 26-February 11 Wed 8:00-7:30 Tue-Thurs 9:00-6:30 Dec 1 - Matt Cook & Timothy Kloss Reading A Streetcar Named Desire Fri-Sat 9:00-5:30 Dec 8 - Steve Nitros Videography - Part 1 Sat 9:00-5:30 F Sa 8pm Su 2 & 7:30pm $9/$8 Sun CLOSED Sun 12:00-4:00 Dec 15 - John & Jeff of Loyal Order of Water Buffalo PALETTE SHOP INC FREE PARKING WHILE SHOPPING IN OUR STORES Dec 22 - PSAs & Commercials Ck Dec 29 - LaDonna Smith & Friends 32 Art Muscle ;,* •#&*?&£%

ON SECOND STREET

9:30pm The Estate 2423 N. Murray NEW& 964-9923

Featuring: IMPROVED Barry Velleman Piano 814 SOUTH SECOND STREET JefF Hamann 383-3211 Bass Charles McFarlan "Great sandwiches, good Drums brew and a slice of Milwaukee's past are on tap at the friendly Fritz's on Second..." Oft rVN^QXtai o\ —Willard Romantini, Milwaukee Magazine

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& jftexican Cuisine i u mi H and Seafood a ONE FREE a •a Cocktails e Alternative Music i MARGARITA The Milwaukee Poetry Slam WITH THIS AD! i a every 2nd and 4th Wednesday One per customer New location! £ri per visit please 1332 W.Lincoln Ave. aill 1100 W. NationalAve. Milwaukee, WI 53215 pn of the month at 8:30pm rnj Milwaukee, WI 53204 Tel: (414)384-8885 ^1 bjl Tel: (414) 384-8850 (414)384-9050 a 706 E. Lyon Street • 347-9972 ElMMSJrlMaMSMSil

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a. A Journey through Art & History

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