NTENTS

VICTOR ALLENS C O F F € Features Visions, Transformations and Ecstasy 15 The more you know —Frances Myers Photo Essay 16 about espresso, the more —Francis Fori Magic, Myth and Mystery 20 you'll appreciate ours. —David Parr

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Cover: from an unfinished series Some Pictures I Took by Chad Joyner.

Currently, the series consists of 15 color prints each 16"x20". All of the subjects are people from my age group (early to mid 20s). I chose to photograph this par­ ticular group because I was intrigued by all of the hype surrounding the so-called "Generation X" and how it was being turned into another fad by the media. It was apparent to me that a lot of people my age are very pessimistic about the future and were lacking a real sense of identity. They were nameless, faceless people.

I tried to have that feeling come across in these photographs by distorting the figure and making the face almost, if not totally, unrecognizable and leaving just a small part of the figure in focus. Doing that made the subject virtually anonymous and gave a definite sense of isolation and uncertainty that I think a lot of us have felt.

The series to date will be exhibited on the River Level at MIAD in April.

Chad Joyner is currently studying photography at the Milwaukee Institute of Art and Design. 2 Art Muscle UWM ART MUSEUM, VOGEL HALL, 3253 NORTH DOWNER AVENUE L DESIRE IN TIME TIME AS INTIMACY February 13-March 27, 1994 / \ Opening reception: Sunday, February 13th, 2-4 pm Todd DeVriese • Martha Ehrlich • Michelle Grabner • Lorraine Peltz • Buzz Spector • Robin Kranitzky & Kim Overstreet • Contemporary artists acknowledge both the highly personal and the historical nature of the construction of time, addressing ideas of identity and history, and suggest various cultural manifestations of order and perception. Organized by Curator Michal Ann Carley.

OBJECT AND METAPHOR Illustrated Lecture: Thursday, March 3, 6:00 p.m. Lorraine Peltz, Asst. Prof., Dept of Art Theory and Practice, Northwestern University

Extending traditions of the sail life, the paintings of Lorraine Peltz reflect upon contemporary culture, particularly in relation to woman's work and the domestic arena. Addressing the use of the object as metaphor, the artist will define her particular connection to the history and tradition of painting.

SELECTIONS FROM THE COLLECTION OF JANET AND MARVIN FISH MAN March 6-April 3, 1994 Opening reception: Sunday, March 6tfi, 2-4 pm Commemorating the Sesquicentennial of the Jewish Community settlement in Milwaukee.

FINE ARTS GALLERY, FINE ARTS CENTER, 2400 EAST KENWOOD BOULEVARD WHERE DO WE GO FROM HERE? An exhibition of design work by UWM alumni and current students February 25 - March 20 Opening reception: Friday, February 25, 7-9 pm Art Muscle ART HISTORY GALLERY, 3203 NORTH DOWNER AVENUE COLLECTOR'S EDITION PASSED TO THE PRESENT: April/May 1994 Folk Arts Along Wisconsin's Ethnic Settlement Trail Join us at the big party! Art Muscle will have a booth at January 28 - February 27 Chicago's International Art Exposition at Navy Pier May 12-16, Slovak wheat weavings, African-American quilts, Ukrainian Easter eggs, Mexican paper flowers, Hmong 1994. A limited number of full page ads at $500 have been set embroidery, Polish paper cuttings and a wide range of other art forms still actively practiced by traditional aside for Wisconsin artists.Your work will be seen by hundreds artists living in eastern Wisconsin ethnic communities are included in this exhibition. of galleries and thousands of visitiors.

Deadline March 10,1994 • 414/672-8485 414-229.5070

25th AIN'T A4ISBEH/1VIN* ANNIVERSARY -. ^ The Fats Waller Musical Show based on an idea by Murray Horowitz and Richard Maltby, Jr.

—WINNETKA— ANTIQUES SHOW Friday, March 4th 10:00 a.m. - 9:00 p.m. Saturday, March 5th 10:00 a.m. - 6:00 p.m. Sunday, March 6th 12:00 p.m. - 5:00 p.m. APPRAISAL DAY Leslie Hindman Auctioneers Sunday, February 27 1:00 p.m. - 4:00 p.m. LECTURE Louis Oliver Gropp, Editor in Chief, House Beautiful The New Way of Decorating with Antiques" Monday, February 28 1:30 p.m. & Tea BOOTH SEMINARS Friday, March 4 9:00 a.m. "Victorian Jewelry - Show and Tell" Saturday, March 5 9:00 a.m. Sunday, March 6 11:00 a.m. "Understanding Aesthetic "Exploring Oriental Rugs" Design 1860-1880" "Collecting Antique Clocks" "Great English Silversmiths" EVENING PREVIEW Underwritten by Northern Trust Bank in Winnetka Thursday, March 3 6:30 p.m. - 9:30 p.m. Cocktails & Buffet Reservations required Tickets $7 presale (until 3/3/94), $8 at door For more information, call (708) 446-0537 SUZANNE WOODS editor Gogh for it! THERESE GANTZ associate editor

FRANCIS FORD Go ahead and wear your art on your sleeve...or over your photo/shoe editor L shoulder! MEGAN POWELL calendar editor Fine art reproductions on ANNE C. ROSENBERGER editorial assistance bags and shirts, radical I statement shirts de­ THOMAS FORD art director signed by artists for artists, whimsical CHRIS BLEILER k jewelry, art watches, GINA BENZINGER unique art print design assistance I notebooks... and ANGEL FRENCH the best advertising <&• circulation director selection of art GEORGE MELCHIOR k books and art sales & circulation

• materials in BOBBY DUPAH the associate editor emeritus Midwest. THERESE GANTZ DEBRA BREHMER

publishers

Printing by Port Publications 342 North Water St. FRIENDS OF ART MUSCLE Milwaukee, WI 53202 414-272-3780 Perry Dinkin Ellen Checota 1325 East Capitol Dr. Barbara & Jack Recht Barbara Kohl-Spiro Shorewood, WI 53211 Jim Newhouse Mary & Mark Timpany 414-963-1346 Theo Kitsch Dr. Clarence E. Kusik Gerald Pelrine Tina Peterman PALETTE SHOP INC Burton Babcock Richard & Marilyn Radke Robert Johnston Judith Kuhn Joel & Mary Pfeiffer Nicholas Topping Dorothy Brehmer C. Garrett Morriss Karen Johnson Boyd Roger Hyman William James Taylor Dean Weller Arthur & Flora Cohen Remy IruAkv COu-stc SoctcCy, COiL>vcvu.Uce David & Madeleine Lubar Sidney & Elaine Friedman Mary Joe Donovan James B. Chase presents Nate Holman Bob Brue Ello & Guido Brink Taglin Enterprises/Access Milw A solo dance prsentation in the Bharata Natyam Style Gary T. Black James & Marie Seder Merchants Police Alarm Corp. Robert E. Klavetter by Edna May Black Keith M. Collis Mary Paul Richard Warzynski RAMYA HARISHANKAR Morton & Joyce Phillips Delphine & John Cannon Jim & Julie Ansfield Daniel S. Weinberg with live music ensemble Sharon L. Winderl Dori 8c Sam Chortek Carole & Adam Glass Janet 8c Marvin Fishman Diane & David Buck Christopher Ahmuty Julie & Richard Staniszewski Toby 8c Sam Recht Kathryn M. Finerty Konrad Baumeister L'Atelier, Inc. Narada Productions, Inc. Wolfgang & Mary Schmidt Margaret Rozga Cardi Toellner Hannah C. Dugan Nancy Evans Jordan R. Sensibar Ronald W. Turinske Janet Treacy Cheryll Handley-Beck Barbara Candy Bruce Jacobs Tim Holte/Debra Vest Jim Raab Leon 8c Carolyn Travanti Eric D. Steele Steven H. Hill Polly & Giles Daeger Arthur E. Blair Joan Michaels-Paque Richard 8c Julie Staniszewski Helaine Lane Judith Bogumill-Thafton Marilyn Hanson Maribeth Devine Egg Stanzel Anne Wamser Ruth Kjaer & John Colt Mike Madalinski Thelma & Sheldon Friedman Michael Miklas Richard Waswo Kevin Kinney 8c Meg Kinney JeffYoungers Jeff Martinka 8c Tessa Coons

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Wehr Hall, Alverno College Art Muscle (ISSN 1074-0546) is published bi-monthly by Art Muscle- (Corner of 41st & Morgan) Milwaukee, Inc., 901 W. National Ave., P.O. Box 93219, Milwaukee, WI 53203, (414) 672-8485. Third Class postage paid at Milwaukee, WI 53202 and additional mailing offices. Postmaster: Send address changes TICKETS to Art Muscle, P.O. Box 93219, Milwaukee, WI 53203. General $12 Endre contents copyright © Art Muscle-Milwaukee, Inc. All rights reserved, except in reviews. Reproduction in whole or in part without Members $10 permission is prohibited. Art Muscle is a trademark of Art Muscle- Students & Sr. Citizens $6 Milwaukee, Inc. Subscription rates in continental U.S.:$12 one year; elsewhere, $28 one year; back issues: $3.00. FOR ADVANCE RESERVATIONS AND INFORMATION PLEASE CALL INDIA MUSIC SOCIETY AT: (414) 521 -4761

4 Art Muscle •c* ^c® LETTER FROM THE EDITOR ARTS In this issue, we look at magic—something many in our culture seem to only superficially accept in the form of sleight- NEWS of-hand or conditionally acknowledge in their sanctioned DanceCircus has been r religions. We may think that magic, an ancient art, practiced accepted as a member in to understand and manipulate the unseen forces of the world PERSONNEL Dance/USA, a national (and developed into science, medicine and religion as well as service organization for art) has lost its potency. Our culture is a pragmatic one, NEWS non-profit, professional embarrassed by spirituality and tentative in its faith. Yet, Jeffrey Christofferson, chairman of dance. They have also magic is a constant partner, existing wherever our abilities fail the Milwaukee Ballet's Board of recently moved to: 6754 to explain the world's phenomena. Directors, announced that Gary F. W. Beloit, West Allis. t Keller has resigned as the 414/328-1000. I was thinking about magic when I read Suzi Gablik's book, Company's President and Chief The ReenchantmentofArt. Gablikis like many of us who decry Executive Officer effective The Milwaukee the shallow and selfish values of our material culture. She immediately. Christofferson Children's Theater encourages artists (and everyone) to be more involved and credited Keller with helping guide Company elected the responsible members of society. Denouncing the importance the Ballet through some important following officers to its of individualistic self-expression and accomplishments, she steps in its development. The Board of Directors for s advocates art forms which replace narcissistic motives with an search for a new chief executive 1994: Debra Bathurst, emphasis on societal interconnectedness and which may begins immediately. President/Treasurer; ".. .restore to our culture its sense of aliveness, possibility and Gray Mitchem, Vice magic." Gablik's thesis rests on a revisioning of art away from Lucia Petrie, Director of Financial President/Secretary; the modernist cycle of production (objects) and consumerism Development at the Milwaukee David Borowski, Dolores (galleries) toward a practice which provokes moral and ethical Art Museum, received a Jackson and Edward solutions to society's ills—a "cultural awakening." professional and community Smith, Members. service award. The Scott M. Cutlip Many people are not yet ready to accept as "art" some of the Award was presented to Petrie by The Milwaukee Civic projects Gablik cites, such as Dominique Mazeaud's The the Greater Milwaukee Chapter of Symphony Orchestra has Great Cleansing of the Rio Grand River, 1988, for example. the National Society of Fund changed its name to the This project involved the artist making monthly visits to the Raising Executives. Festival City Sym­ Rio Grand River to collect trash while recording her impres­ phony. Their charter is sions in a diary. This was a private ritual, not a performance art Betsy Corry, former Director of to provide quality, famil­ spectacle. There was no by-product which could enter an art Development at the UWM iar classical music focus­ marketplace. Arguing for the inclusion of such work in Professional Theater Training ing on affordable pro­ contemporary art aesthetics for me weakens Gablik's vision. Program, has joined First Stage grams for working fami­ Naming an activity "art" maintains an attitude of exclusivity Milwaukee in the newly-created lies, senior citizens and (regardless of whether one is speaking of it in modernist, position of Audience Development minorities. deconstructivist, reconstructivist or whatever terminology). Director. She will be responsible It can cause artists to command a moral "high ground" as for providing customer service to Applause, an annual di­ though it were a right. And it relegates the rest of us to the existing audience members as well rectory listing perform­ field of spectators somehow denied the insight to implement as developing new audiences for ing artists in the Arts "cultural awakening" ourselves. First Stage. Midwest nine-state re­ gion is now available free The strength in Gablik's thesis lies in the understanding that The new Board Chair of Arts of charge. Contact: Arts art is a process, a process pertaining more to a way of living Midwest is Judith Ann Rapanos Midwest, Suite 310,528 one's life than to the technical demands of craft, a process who is also the Chair of the Hennepin Avenue, Min­ which enlivens the senses, thereby increasing our awareness of Michigan Council for Arts and neapolis, MN 55403. everything from the mundane to the spiritual. Such awaken­ Cultural Affairs. Lloyd Herrold, 612/341-0755. ing is all the more powerful when it comes as the result of Chair Designee of the Wisconsin active participation rather than the passive spectatorship Arts Board, was named Treasurer. Several community pro­ we're encouraged to practice in our galleries and museums. It ducers recently received amuses and saddens me that we're not allowed to touch Milwaukee Symphony Orchestra's awards from Milwaukee objects in such places because we might damage them, thus Music Director, Zdenek Macal, Access Telecommunica­ they would lose their value as commodities. In Chinese will relinquish his post at the end tions Authority: Dor­ culture, in contrast, it is believed that prints increase in of the 1994/95 concert season in othy Dean for Into the significance the more they are handled. Appreciation is tan­ order to become the Artistic Water, Marilyn Lock & gible, measured in fingerprints, not dollars. Director and Conductor of the Tim Rogers for Men in New jersey Symphony Orchestra. White Shirts; Christina Several years ago, in Ireland, I saw one of the most visually Edwin P. Wiley was named as the Zawadiwsky for Clothes­ exciting and resonant objects I've ever seen. Out in the new Board President of the line Project and Adolph landscape, beside a well was a bush onto which hundreds of Milwaukee Symphony Orchestra. Rosenblatt: Sculptor. people had tied rags, fragments of clothing, beads, coins—all He replaces retiring President kinds of personal objects. Layers and layers of weathered Michael J. Schmitz. A break in a heating sys­ fabric, colors leeching, mummified the branches. Visiting a tem coil at the UWM rag bush is a very old custom in Ireland. The fabric scraps are Cabochon Gems and Designs' Art Museum has tem­ tangible evidence of hopes, prayers and wishes for health, staff goldsmith, Phil Delano, porarily closed the facil­ fortune, happiness, peace. Art? Who cares. Magic? Certainly. recently won a Spectrum Award ity at 3253 N. Downer from the American Gem Trade Ave. The exhibitions on I am very grateful to readers who contribited to this issue and Association. It is Phil's second such display received no seri­ encourage you to continue. One of the topics we'll consider award. ous damage, but two gal­ in the next issue is place: how influential is place (interior/ leries require extensive exterior environment) to the kind of artwork you create? Is Bienvenida (Beni) Mafias, a repair necessitating the there a Wisconsin art, for instance? See the Opportunity documentary filmmaker, is the rescheduling of Desire in section for deadline and other information. Speaking of new executive director at The Time, Time as Intimacy, Wisconsin art, don't miss the chance to have your artwork Center For Arts Criticism. The now planned to open featured in Art Muscle when we take the April/May issue to Center develops non-academic Sunday, February 13, 2- Art Expo in Chicago. See our ad; we're offering a special full- programs to address issues of 4 pm. The Collection of page rate for this issue only. critical thinking, speaking and Janet and Marvin writing about culture and Fishman exhibition has —Suzanne Woods community. 612/644-5501. also been postponed. GRANTS O O R U N

Mellon Foundation Gallery, Regional Exhibition, 1040 W. The Skylight Opera Theatre Visual Arts Huron, Chicago, IL 60622. Regional Arts received a $150,000 grant All Media from the Andrew W. Mellon Artists working in any media may apply Alumni of the Visual Arts Specialty of the Funding Foundation. The grant is to for exhibition in 1995. Deadline: April Milwaukee High School of the Arts and Arts Midwest/NEA Regional Visual support artistic development 15. Send up to 20 slides, resume, short Bay View High School are invited to Artist Fellowships of $5000 are avail­ over the next three years. proposal and SASE to: Yvon Ashen, enter their artwork in a non-juried show, able to up to 30 artists in the categories Curator of Exhibitions, AGA-Center celebrating a decade of the specialty pro­ of painting and works on paper. Dead­ Et Tot Tu Danses? for Visual Arts, 130 N. Morrison St., gram. The show is scheduled for Sep­ line: May 20. Contact: Bobbi Morris, Et toi, tu danses? received a Appleton, WI 54911. tember and will be held in the Art Gallery Arts Midwest at 612/341-0755. $2,000 grant from the Miller at 2300 W. Highland, Milwaukee. For Brewing Company to sup­ Artists interested in two exhibitions: information call: Rose Balistreri at 414/ Artworks Fund provides matching grants port the chamber ballet CulturalLandscapesII(dtzdtinc: March 933-1500. of up to $1000 to non-profit exhibi­ company's ongoing outreach 30) and Objetsdejardin (deadline: May tions spaces who want to work with activities. In part, the funds 1) may request prospectus by sending Wausau Festival of Arts seeks applica­ 1993-94 NEA Visual Artist Fellowship will be used to take the SASE to: Riverwest Art Center, 825 E. tions for its 30th Annual Juried Show recipients. Funds are awarded on a first- company's production of The Center St., Milwaukee, WI 53212. which takes place September 10 & 11 at come, first-served basis. Other funding Little Prince on tour to schools, the downtown pedestrian mall. $6,600 deadlines: Performing Arts Touring libraries and community cen­ Emerging artists interested in solo or in prize money; $16,000 in purchase Fund—March 15; Meet the Com­ ters around Wisconsin. group shows at the Blatz Gallery, 270 E. pledges. Deadline: April 1. Application poser—April 1; Cultural Development Highland Ave., Milwaukee should con­ available from: Kathleen Grant, Wausau Fund—April 29. For funding informa­ Meet the Composer tact Fortisse or Brian Bailey at 414/ Festival of Arts, PO Box 1763, Wausau, tion contact: Bobbi Morris, Arts Mid­ Arts Midwest awarded 37 223-4774. WI 54402-1763. 715/842-1676. west at 612/341-0755. Meet the Composer grants to organizations throughout John Michael Kohler Arts Center is Arc East has moved to the 3rd Ward and their nine-state region. The organizing an exhibition to be held has expanded. Seeking small 2D works Sculpture grants support interaction from May 15 - July 31, in which artists for print bins, jewelry, wearables and The National Endowment for the Arts between composers and au­ will be commissioned to create a MINI creative craft works. For appointment, is accepting applications for $15,000 diences in conjunction with GOLF hole forplay in the gallery. Dead­ contact Kristy, Arc East, 217 N. Broad­ fellowships in sculpture. Deadline: Feb­ performances of the compos­ line: February 15. Call JMKAC for pro­ way, Milwaukee, WT 53202. 414/277- ruary 15. Applications available from: ers' work. Wisconsin com­ spectus and guidelines. 414/458-6144. 9494. National Endowment for the Arts, 1100 poser Lawrence McDonald Pennsylvania Ave. NW, Washington, will play atUW-Parkside; Paul Open to ail artists over age 18. All media, The Wisconsin Humane Society's AUC­ DC 20506-0001.202/682-5448. Lavendar will perform at no dimension over 2 inches excluding TION FOR THE ANIMALS, to be Weisser Park/Whitney Young frame or base. Juried fromwork . $15/3 held on April 28, is in need of artwork to The Virginia A. Groot Foundation is Elementary School in Fort pieces. Work due April 29, exhibition be auctioned off"to animal lovers. Artists offering a grant of up to $25,000 to an Wayne, IN. from May 20 - July 1. For prospectussend interested in donating may call Paula artist who has demonstrated exceptional SASE to 2 x 2 x 2, Gallery Ten, 514 E. Gokey at 414/961-0310, ext. 114. ability in the areas of ceramic sculpture Milwaukee Children's The­ State St., Rockford, IL 61104. or sculpture. Deadline: March 1. For ater Company Entries are sought for the 32nd annual application, send SASE: Virginia A. The Harley-Davidson Foun­ Edna Carlsten Gallery at UW-Stevens Monument Square Art Fair to be held on Groot Foundation, PO Box 1050, dation awarded a $3000 Point is now accepting slides for its June 11 & 12. Deadline: February 11. Evanston, IL 60204-1050. grant to The Milwaukee Alumni Show. Deadline: May 1. Send Application form available: Monument Children's Theater Com­ slides, resume and supporting materials Square Art Fair on the Lake, PO Box pany. The Theater produces to Edna Carlsten Gallery, College of 085656, Racine, WI 53408-5656. shows which address social Fine Arts, UW Stevens Point, Stevens Film & Video issues such as drug and alco­ Point, WI 54481. 715/346-4797. Intermedia Arts Minnesota and Walker hol abuse and are intended Artists' Books Art Center invite entries for the 5th to deliver messages about South Shore Gallery & Framing is seek­ Artists are invited to submit work for Annual Film and Video Showcase right and wrong while intro­ ing works for upcoming shows: Febru­ Reading Art: A Juried Exhibition of Art- held in May. Noncommercial film and ducing children to a theater ary 8 to March 5—To Old Lace and ists}Booksto be held February 25 - March video produced since 1991 by individu­ experience. Teapots; March 8 to April 2—Abstract 23 at UWM Union Art Gallery. Dead­ als residing in IA, MN, ND, SD, WI are the UN-Reality. For further informa­ line: February 18,5:00 pm. Applications eligible. Deadline: February 15. Appli­ Alverno College Receives tion contact: Kit Koltermann at 414/ available: Union Art Gallery, University cation information: Midwest Film and Arts Partners Grant 481-1820. of Wisconsin-Milwaukee, Union Build­ Video Showcase, c/o Intermedia Arts, Alverno College has been ing, First Floor, 2200 Kenwood Blvd., 425 Ontario Street SE, Minneapolis, awarded a $10,000 planning Applications are invited for the 20th Milwaukee, WI 53211.414/229-6310. MN 55414. 612/627-4444. grant from the Lila Wallace- Annual Audubon Art Fair to be held Reader's Digest Arts Partners June 4. Applications available from: Program. This grant will en­ Audubon Art Fair, c/o Janet Shafer, Craft able the college to plan for 4068 N. Prosper., Milwaukee, WI 53211, Generic outreach activities in or call Janet Lutze at 414/962-5407. Cooperative Under consideration in April/May Art Milwaukee's African Ameri­ Fine craft cooperative in Cedarburg has Muscle is the importance of place (inte­ can and Hispanic communi­ Oconomowoc Festival of the Arts, Ltd. openings. Sell your art in exchange for rior/exterior environment) to your ties by Nuyorican Poets Live! invites applications for its 1994 show part-time staffing. For information call: work. Have you been effected/affected during the 1994-95 Alverno August 20 and 21. Jury fee $5. Entry fee 414/375-4099. by a particular place so that your work Presents season. $130 for tented space, $105 for changed? Is there a Wisconsin art? How untented. Send four slides of current does living in the Midwest effect your Wisconsin Arts Board work and one slide of display, resume Fiber work? Send us your thoughts: written, Forty-seven individual artists and SASE to: Oconomowoc Festival of FIBERARTS Magazine and Lark Books visuals. Deadline: March 7. Art Muscle, in Wisconsin will receive the Arts, PO Box 651, Oconomowoc, are accepting color transparencies for 901W. National Ave., Milwaukee, WI grants totaling $132,000 WI 53066. inclusion in their 20th anniversary edi­ 53204.414/672-8485. from the Wisconsin Arts Board tion ofFiber artsDesign Book. Deadline: as part of the Individual Artist Art and craft work sought for sale in a May 2. For entry form, send SASE to: Marian Center, formerly St. Mary's Program. Milwaukee recipi­ new gift shop in Rogers Memorial Hos­ FiberartsDBS, 50 College St., Asheville, Academy, 3195 S. Superior St., Mil­ ents are: Steven Foster, Marna pital in Oconomowoc. Call 414/646- NC 28801. waukee, has office space available for Goldstein Brauner, Pamela 4411 or 800/767-4411, extension 224 lease by nonprofit organizations. An Schermer—visual arts; Sarah to make arrangements. auditorium with sound system and E. Moore, Thomas Thoreson, Paper Classic IV Steinway grand piano is also available. Yves De Bouteiller, Diego A.R.C. Regional, Chicago. May 4 - 29. Work sought for National Juried Exhibi­ Contact Sister Lourdette Van Driel. Carrasco, Edward Burgess- Open to artists in IL, IN, IA, KY, MI, tion of works on/of handmade paper. 414/483-2430. choreography; Brad Killam, MN, MO, WI. Juror: Beryl Wright, $20/3 slides. Deadline: March 1. Send Michael Moynihan—interdisci­ Assoc Curator, Museum of Contempo­ #10 SASE for prospectus: AGA-Center Adults are invited to train as volunteer plinary arts; Sandra Sylvia Nelson, rary Art, Chicago. Deadline: March 13. for Visual Arts, 130 N. Morrison St., tour guides for the Milwaukee County C J. Hribal—literary arts. For prospectus send SASE to: A.R.C. Appleton, WI 54911. Historical Society, 910 N. Old World 6 Art Muscle E O

3rd St. Sessions begin Tuesday, Febru­ Salud, amigos. Though it may be hard to believe, the recently bid a phenomenal $950,000 for a 200-year- ary 8 from 9:30 am to noon and con­ worst is over. The days are getting longer. Frasquita old hand carved card table that will be added to the tinue every Tuesday in February and March. Application available: Kathleen doesn't know about you, but she just hates to be stuck early American decorative arts collection of Milwau- O'Hara 414/273-8288. alone at her desk as the sun begins to drain from the sky keean Polly Stone, whose Fox Point casa will become a each afternoon. So every afternoon, as the shadows a museum upon her, ah, departure from the scene. A The Riverwest Artists Association seeks a coordinator for their annual ArtWalk begin to lengthen and el goto begins to cry for his big hoo-de-doo article in the New York Times recently event. Position requires fundraising and dinner, she heads out of her solitary garret and into the chronicled the bidding for the table... It looks as if at promotional abilities. Deadline: Febru­ great, wide world in search of sources of intense least some of the powers-that-be in the city may be ary 28. Send resume to: Riverwest An Center, 825 E. Center St., Milwaukee, artificial light. (Supermarkets are great for this, inciden­ showing a modicum of interest in site-specific sculp­ WI 53212. 414/372-4722. tally, and as a result la Frasq has more packages of dried ture for Milwaukee. A committee has been formed as beans and soup mix in her cupboard than she knows an offshoot of the Milwaukee Arts Board to look into quite what to do with.) But she digresses. Frasquita the subject and has already met a few times. Word has Interdisciplinary begins this year, this snowy, dim year, with a nod to it that one site that may be investigated is the river— Intermedia Arts announces the avail­ Absolut Vodka, which unveiled Milwaukee artist Fred not in it, but along it. This, of course, has been the focus ability of 1994 Diverse Visions Re­ gional Interdisciplinary Grants. Art­ Stonehouse's new Absolut ad at Mimma's restaurant— of a good deal of the city's marketing efforts for some ists working individually or a splendid party at which every dish had some vodka years now, and it's easy to see how a good artwork collaboratively to initiate a specific in­ thrown in. It reminded her that a Milwaukee native, could enhance it... Finally, Frasquita met up with a face terdisciplinary project are eligible for grants up to $5000. Deadline: March Patricia Wells, author of what is arguably the hottest from the past over the weekend. None other than Terry 31. A grant information workshop will cookbook of the year, says pasta with vodka sauce is Meeuwsen, former Miss America, who was on the 700 be held at Woodland Pattern, 720 E. one of her most treasured recipes. Various local artistic Club, alternately exhorting callers to send money, Locust, Milwaukee. Grant guidelines available from: Diverse Visions/ luminaries were in attendance at the fest, all of whom performing tele-healing rituals for psoriasis, and pray­ Intermedia Arts, 425 Ontario Street SE, could be said to have been oh, como se dice, enthusias­ ing over large denomination pledges. Her cohort was Minneapolis, MN 55414. Contact Al tic about the food on their plates... Yahora, las noticias: none other than Pat Robertson, of whom it is hard to Kosters: 612/627-4444. Bauer Dance Company has withdrawn from the United believe that he was once actually a candidate for Performing Arts Fund and will no longer be receiving a PRESIDENT OF THE UNITED STATES. Moved by the Music portion of its funding from UPAF... And speaking of spirit Frasquita called the 800 number and asked them The MacDowell Club will hold its an­ funding, a moment of silence, porfavor, forthe passing to pray for a break in the weather, which the prayer nual scholarship audition on Saturday, March 19, at the Wauwatosa Congrega­ of Minnesota's Film in the Cities program, which has counselor did with much flair. "By the way," she said tional Church. Vocalists must be be­ passed away due to lack of funding... Outpost newspa­ when she had finished, "did you know Terry's from tween the ages of 20 and 30; pianists, per editor, Art Blair, and Laura Marie Pollom tied the Milwaukee and she misses it very much?" Frasquita organists and instrumentalists must be between 17 and 28 years of age. Applica­ knot at the College Women's Club in January. Artist couldn't help noticing that many of the pledges that tion Deadline: March 1. For further Marvin Hill illustrated the invite and the John Schneider day seemed to be coming from Milwaukee. information, call 264-8796. orchestra provided the tunes... A film called Aswang Friends of Boerner are looking for per­ about a Filipino vampire legend, by the Milwaukee- Hasta luego, formers for their 1994 Rose Festival based film production company, Purple Onion Produc­ June 18 to June 26. For information call: John Munger, talent coordinator for the tions, will be showing up in the 1994 Sundance Film Festival, 7309 Edgemont Ave., Festival at Park City, Utah... Metalsmith Charles P. Greendale, WI 53129.414/421-1724. Bahringer, whose baubles have graced such luminaries as Cher and Oprah Winfrey, has opened a jewelry Theater studio called Out of Solitude, on Oakland Avenue. Milwaukee's Playwrights Studio The­ Upon reading the invitation to the opening, Frasquita ater will hold auditions for its May Fes­ was intrigued and baffled by a quotation: "Follow the tival of Ten Minute Plays. Auditions will take place at the Milwaukee Repertory process of creation and you will see that the idea always Theatre on Saturday, April 9, 9 am - 5 precedes the thing and the thing is never the whole pm. For an appointment call: Pat Acerra embodiment of the idea but only a partial manifesta­ at 271-6653. tion of a vision dimly seen and partially understood." The Boulevard Ensemble will hold Heavy, no?... It appears that the behemoth of a build­ auditions for its early April production ing at Water and St. Paul whose upper floors used to of John Murrell's wartime comedy Wait­ ing for the Farade on February 26 & 27 house the Milwaukee Institute of Art and Design is from 2-6 pm. Auditions, by appoint­ beginning to fill up again. Ko Thi dance company has ment only, will be held at the Boulevard relocated to its seventh floor, where, Frasquita bets, the Theatre, 2252 S. Kinnickinnic, Milwau­ kee. Call for appointment: 414/672- ghosts of MIAD writing students are still lurching 6019. about... In other moves, La Galleria del Conte is moving from its posh Jefferson street location to what Frasquita Writers presumes will be an equally posh location on Astor Wisconsin residents, age 55 and over, Street... Writers be advised: Frasquita hears that Aviva who remember the happy times as well Davidson, the new performing arts director at the John as the grim realities and hardships of the "good old days" are invited to enter a Michael Kohler Arts Center, is doing some interesting creative writing Contest. Limit 500-1500 things. She is preparing an original script based on words, manuscripts will not be returned. writings about life in Wisconsin to accompany an One entry only. $5. fee. Deadline: March 1. For prospectus: Yarns of Yesteryear upcoming theme exhibit on self-portraits. An interest­ Contest, Kathy Berigan, Director, Room ing idea, Frasquita thinks. Curator Luke Beckerdite, a 713N Lowell Hall, 610 Langdon St., name decorative arts people already know about and Madison, WI 53703. 608/263-3494. everyone else will soon be hearing much more of, LefsBe nends

The only way to have a friend is to be one" THEATRE X Yfusbrical z/Keyboard'(Qociety INVITES YOU TO ATTEND OF WISCONSIN -Ralph Waldo Emerson "The warmest harpsichord playing you 'U ever hear." Opus JOHN GIBBONS BODE-WAD-MI: Harpsichord Become a Friend of Art Muse KEEPERS OF THE FIRE Fete Galante and well send you a two musk for solo harpsichord by Francois Couperin la Grande subscription to Wisconsin's and A COLLABORATION WITH Antoine Forqueray |tjpb art publication and THE POTAWATOMI TRIBE proudly include your name WITH MULTI-MEDIA DESIGN Sunday, March 13 at 7 p.m. BY DESIRE PRODUCTIONS All Saints' Cathedral on our masthead. 818 E. Juneau FEBRUARY 4—27, 1994 Tickets $18 Students $9 Senior Citizens $ 16 - p • Tickets available at the door - (*~. • r. BROADWAY THEATRE CENTER or by calling the HKSW office 158 NORTH BROADWAY 226-BACH But wait! Thati not a MILWAUKEE, WI 53202 have a special gift for new Early Keyboard Conversations friends who love great art. TICKETS: $14—$16 MARCH 12-13 Free 6 p.m. pre-concert lecture: MILWAUKEE RIVERSIDE THEATRE Prof. Jeffrey Merrick speaks on "Politics and Culture from DINNERS LATE NIGHT SERIES Sat, Sun 2pm I Sat 8pm I Sun 7:30pm Louis XIV to Louis XVI" FOR MORE INFORMATION & Tickets at the Box Office, RESERVATIONS PLEASE CALL all Ticketmaster locations & Ticketmaster Phone Charge 276-4545 Sponsored by Information & Group Discounts 224-3000 Marquette Electronics 278-0555 National Endowment for the Humanities

UWMb Professional Theatre AsahiendorMterM Training Program you will receive a limite edition coffee mug fefml A VIEW FROM THE BRIDGE an original work ofart in rotation with "Hermetic Dreamer, DESIRE UNDER THE ELMS off-white ironstone Feb. 17-Mar. 13 lli^kround illustr Mtoukee artist Mar HARVEY Mar. 2 -12 MMiMm$k$ collectors FEBRUARY 24 - MARCH 13 THE SERVANT OF STIEMKE THEATER TWO MASTERS TICKETS: $15 & $17 Apr. 27 - May 7 C A I I 2 2 4-9490 _>jT' Sponsored By: Dont delay. Mail your TICKETS: $12/$14 Waste Management of Wisconsin, Inc. iegrcts 4, s, 6, Il and 12 1)0 check today DREW Art Musch UWM Fine Arts BRHEL LAURA BO, Box 93219 Box Office GORDON WRIGHT Milwaukee, WI 531 CALL: 229-4308 TAG"

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of western religious icons appears forced. "meta-linguistic paradigm" and the de­ Myers scrutinizes both sacred and pro­ scription fits here as well. The five texts fane associations with a specific Catholic take place while trout fishing, playing icon, St. Teresa in her juxtapositions of baseball, coaching a childbirth, eating religious illustrations, text and symbols. and exercising and are monologues from Hutchison reduces her references to re­ god's eye view. A father is described ligious symbols by extracting essential soliloquizing about his feat of fertilization Jane Marshall, Three Into Nine structural elements of crosses and temples, as he is coaching the laboring woman, and Marshall alludes to the Christian nar­ "Sometimes he pictured a divine experi­ PEGGY HONG Jane Marshall's colorful, narrative paint­ rative by recalling both literary and art ment in the romantic laboratory of the Muse Power at People's Books ings. Each of these artists makes visual historical sources. woman's body; but, more often, he saw a December 9 reference to religion while evoking a holy war—800 million megaspores of mood of spirituality. Their illumination of Each artist refers to religious icons in her DNA dropped on Fallopiana; the victori­ If I were to use one word to describe spiritual concernspresumablylinks these subjects: sibyls, saints and symbols, but a ous bombardment annihilating both sides Peggy Hong's poetry, that word would disparate styles into shared representa­ shared thematic connection between in nucleated fission that would become a be "acceptance," acceptance of the cycles tions of western religious subjects. these artists seems incidental. However, fetus..." and a woman at an exercise ma­ of life manifested in Ms. Hong's sensuous these works are intriguing and invite chine is described as, "Her body tensed, verbal affirmation of her sexuality and In Frances Myers' etchings, woodcuts and multiple levels of interpretation includ­ muscles hardened, resolve hardening. femininity. Hers is a poetry of the body, collages, she quotes Bernini's Roman ing aesthetic, personal, social, historical Search and destroy the flaccid confessional in style, owing much to the sculpture, The Ecstasy of St. Teresa, por­ and spiritual considerations. hyle...Weigh in at the right weight and traditions of Sexton, Plath and Rich, who traying the saint in a state of spiritual and Elizabeth Ellis defeat her rivals." Her polemic is as stark paved the way for the right of women to physical rapture. Through the spiritual as is the room of the exhibit, hard and write about their own experience, albeit persona, Teresa of Avila, a l6th century cold, sterile and inert as the aluminum in a more somber vein. Spanish Carmelite, Myers explores visual GLORIA PATRI plaques. dualities. By presenting images of An installation by Mary Kelly Hong celebrates life, the joys of domes­ Bernini's raptured St. Teresa within a November 19-January 30 Kelly has created a stage set rather than ticity and the pleasures of her "other" controlled grid composition, Myers cre­ UW-Milwaukee Art Museum an exhibit. She has provided a script for obsession, dance. Much of her poetry ates visual and psychological tension the viewer to perform on this stage and reads like a dance, fluid, graceful, pleas­ between emotional ecstasy and controlled With a border of heraldic disks, trophies the information needed for context. The ing to the eye and ear. Her world of rationality. Myers' prints are provocative mounted like sconces and shields etched viewer is manipulated like the student familiar daily images and relaxed reading in their exploration of multiple levels of with text hanging at eye level, Mary Kelly assigned a programmed instruction text, style captivates her audience. (I found I meaning through a single subject. attempts to transform a gallery into a led through the steps of a carefully pre­ did not look at the clock, not even once, military award room in her 1992 installa­ pared exercise to reach a foregone con­ during the reading.) Humor and tender­ Unlike Myers' representational composi­ tion, Gloria Patri. Her references are clusion. ness is her forte, laughing along with her tions, Sally Hutchinson turns to abstracted contemporary—the Gulf War. The sym­ audience—good medicine, assuagingthe symbolic forms in her bold, colorful geo­ bols imprinted on the disks are each two The installation is a showcase for the text, discomforts of life's lemonade, as in How metric paintings to portray generalized logos from divisions of the U.S. military so much so that a performance or an to be Pregnant, a catalog of behaviors religious structures. These forms assert a bisected and recombined in seemingly article or book with props or illustrations exhorting a pregnant women to "sigh," powerful signification of the most essen­ arbitrary combinations. "Trophies" are would seem a more natural venue than demand the best chair in the house, lose tial Christian sign: the cross. Although her inscribed with cuts from mass media bytes an installation in a art gallery. It is a interest in any conversation not centered thick, textural application of paint and by participants in the Gulf War such as, struggle to read the voluminous texts on around her body—feminism incarnate, "I her prominent horizontal and vertical "Cut it off and kill it," and "Kick Ass.'The the aluminum shield-shaped plaques. am feminism!" she asserts. The word be­ forms demand aesthetic attention, a reli­ aluminum objects are parodies of their Because the installation is visually unin­ comes flesh! Occasionally her work slips gious interpretation is not evident within industrially produced prototypes. Any teresting, all butthe theoretically obsessed pleasantly into whimsy, as in The Zen of these paintings. I feel that their religious seductive power the work has lies in its are likely to be driven away. Diapering, in which she invokes the "spirit connotation requires the viewer's prior provocative subject matter, rather than Susan Simensky Bietila of repetition," telling parents to "take knowledge of the prevailing religious with the visual or sculptural aspects of the your time/you will do this often." theme. Hutchinson reveals this theme in objects. JANE, BETH, CHARLES, her titles such as Crosspieceznd Temple I, LUCY, SIDNEY & FRANK Hong is all woman, endowed somehow informing the viewer of her religious, Gloria Patri, "For the Glory of the Father" Mark Anderson with a wondrous ability to live out and architectural references. is taken from a two-line hymn which goes project positive feminine expression December 3-12 (in Latin) "Glory be to the Father, and to within a culture not always respectful of Broadway Theatre Center/Theatre X Jane Marshall's canvasses depict stories the Son, and to the Holy Ghost. As it was that role. She reminds us through her joy based on personal dreams, religious epi­ in the beginning, is now, and ever shall and acceptance, what successful mater­ Anyone who sees the title Jane, Beth, sodes, mythic allegories and pagan ritu­ be, world without end." "Patri" can also nity requires of a society, and what is only Charles, Lucy, Sidney and Frank and als among other literary and art historical be interpretedas "fatherland." Kelly makes found, it seems, in quiet islands amid expects a story of the trials and tribulations sources. Her energized, figural scenes an argument for the omnipresence of a prevailing chaos. of a group of college friends a-la St. resonate with vibrant colors and dynamic patriarchal grand myth, where combat Elmo's Fire, or six children growing up Penelope Reedy linear movement. Marshall divides sev­ and domination are the archetypal ideas under one roof a-la The Brady Bunch will eral of her paintings into three horizontal through which we interpret experience registers much like early Christian manu­ be sorely disappointed. The play, written ICONS: Sibyls, Saints to form our sense of self and which moti­ and directed by Milwaukee's Mark script triptyches. As in Dante's Inferno, we vates our interactions with others. and Symbols are presented with a hierarchy of earthly Anderson, contains but two performers (in this instance, Anderson and Marcie November 13-December 9 and spiritual states including heaven, earth Despite a stated intention to transcend UW-Madison, Memorial Union and levels of hell. Although her imagery Hoffman). Together they rotate through the simplistic essentialist paradigm by pairs of unnamed characters, occupy a Porter Butts & Class of 1925 Galleries is intriguing, her accumulation of sources showing that women can be as warlike as and contexts results in an ambiguous simple set, and have conversations which men, Kelly nevertheless remains within oscillate seemingly directionlessly be­ Entering this exhibit, I was initially struck visual quagmire of the Arcadian dream, the traditional dualist gender paradigm. by the contrasting styles between Sally purgatory and everything in between. tween intense engagement and glassy- The language of the inscriptions on the eyed, absent-minded distraction. With no Hutchison's bold geometric paintings, shield is the central element of Gloria Frances Myers' ordered juxtapositions of effects, costumes, props, or gimmickry of All three artists address religious content Patri. Kelly has spoken of past work as any significance, the play relies on these printed religious images and text and in theirwork; however, the unifyingtheme 10 Art Muscle Nancy Holt, Sky Mound Rendering: Sun-viewing area with pond and star-viewing mounds conversations like a one-legged man re­ fully and creatively demonstrates a lies on his remaining leg—from neces­ method of toxic cleanup by planting and sity! The pairs of characters, sometimes harvesting toxin-absorbing plants. The intimate partners and other times com­ artistic aspect of this work lies in the site plete strangers, converse in what ranges configuration and the invisible process of from emotion-laden demonstrations of what Chin calls "green remediation." the sexual tension between estranged lovers, to nostalgic waxing on memories Mierle Laderman Ukeles addresses urban of childhood experiments with popsicle waste and the importance of recycling in sticks and glue. The conversations offer her installation, Flow C#jy(1983-present) snapshots of the long-playing film of life— at New York's Department of Sanitation. they provide the thoughts, but require Her gallery exhibit includes site plans, the viewer to recognize the underlying design drawings and collaged photo feelings and compensate for that which is transparencies of the project in which the unsaid. In a defining scene, one of public is invited to witness the dramatic Hoffman's characters, frustrated when dumping process and landfill work. pressed to articulate her emotional state, Ukeles uses her art to call attention to our can only reply "I'm doing what I'm sup­ relationship with natural resources by posed to do.. .I'm keeping my hair clean." creating a physical metaphor between the regeneration of materials and our Susan Falkman, Angel series While instances of Anderson's off-beat views toward birth, death and renewal. valuable to recognize that these works that they look almost like bisque porce­ wit make the play both humorous and generally take the form of proposals, plans lain. Falkman combines surfaces in dra­ engaging, it is hard to shake the pervad­ Patricia Johanson focuses her work on and documentation of artworks that are matic ways, so that the front of Torso ing sentiment of the futility of truly ex­ the recreation of biodiversity in wetland impossible to view in a gallery. This makes Feminine II (1993), which is like a rare pressing one's feelings through mere habitats. The drawings and photographs the exhibition both problematic and ex­ antique fragment, is highly polished, but words. The question of "do you have in this show represent the public recla­ citing as it redefines the role of art as well the back is completely covered with anything else to say?" after a long silence mation projects to clean up and revitalize as the artist. No longer are these artists rhythmic scoring in a way that suggests in a telephone conversation is ultimately a lagoon in Dallas, Texas and a bay area producing objects, they are confronting angel wings. One experiences a trans­ answered "no," as it is implicitly at most at San Francisco's Candlestick Cove. In ecological problems and collaborating formation from physical to ephemeral as crucial moments throughout the play. her Leonhardt Lagoon project (1981- with scientists, urban planners, sanita­ the perspective changes. Jane, Beth, Charles, Lucy, Sidney and 1986), Johanson restored a wetland habi­ tion workers and city officials to create Frank will disappoint those who seek tat in Dallas by reintroducing native plants, environmental alternatives and solutions. An interest in transformation is reflected overt life-lessons or a riveting plot, just as fish and reptiles into a wetland damaged Fragile Ecologies is a thorough introduc­ in Falkman's focus on the myth of Daphne. it will reward those who are diligent and by local synthetic fertilizer seepage. tion to contemporary ecological art and This myth is the most frequent subject well-practiced at reading between the Through her cleanup process, the expanding roles of artists within it. matter of the artist's recent sculpture. lines. reintroduction of biodiversity and her Elizabeth Ellis Daphne was a huntress who, rather than Jeffrey Peelen creation of sculptural paths and bridges be forced to marry Apollo, changed into based on serpentine root systems, SUSAN FALKMAN a laurel tree. For Falkman, Daphne's loss Johanson created a living exhibit that of freedom is a metaphoric reflection of FRAGILE ECOLOGIES: Angel Series & other works invites public interaction. the sculptor's artistic transformation since December 1-February 28 Artists' Interpretations & Solutions she had a child four years ago; it repre­ Madison Art Center David Barnett Gallery The Los Angeles River Project(1989) is a sents the idea of transcendence. Falkman December 4-January 31 multidisciplinary installation by students shows Daphne at the moment of transfor­ I had heard that Susan Falkman was a from Wilson High School in L.A. under mation, as she is becoming rooted to the Barbara Matilsky, curator of the Queens sculptor in marble who carved abstract the direction of Susan Boule and Cheri earth. These works are fairly abstract, Museum in New York organized the trav­ angels. I went to the David Barnett Gal­ Gaulke. This art installation is the most with flashes of figurative elements. In eling exhibition, Fragile Ecologies: Artists' lery with a mental image of muscular successful piece in this exhibition due to Daphne III, the sculpture is transformed Interpretations and Solutions now on Baroque angels somewhat simpl if ied and its multi-media approach and its utiliza­ as one moves around it so that the top, exhibit at the Madison Art Center through almost granite-like in appearance. What I tion of space. The installation consists of which from one angle looks perhaps like January 31. The theme of this show is found was work that exceeded my ex­ a map of Los Angeles with surrounding a wing, from another seems clearly to be contemporary ecological art that ad­ pectations at every turn. First and fore­ annotations documenting the concrete a hand reaching to the sky. The idea of dresses current environmental crises in­ most, the pieces are purely beautiful. channeling of the river in the 1930s, a transcendence is further intensified by cluding urban waste, water pollution and Beyond that, Falkman works success­ video documentation of the students' the way the sculptor carves the marble, endangered habitats. This exhibition is fully in a range of scales, from the small personal interaction with the river, and a which can be so thin in places, light rich in information and challenging in its and simple Angel series (1993) where the "video river" made up of twelve televi­ passes through it. breakdown of boundaries between art, tiles measure about 12 inches high, to sion monitors arranged in a snake-like science and technology. Four of the most large sculpture in the round such as configuration projecting the flow and In Daphne Crucified (1993) the viewer interesting artists include Mel Chin, Mierle Daphne III (1987), which is 56 inches sounds of the river. Through their studies sees Daphne's transcendence. At the Laderman Ukeles, Patricia Johanson and high. She is a stonecarver who exploits of geographical, historical and political moment of transformation, it is as though the Los Angeles River Project. her medium to the fullest. At times, the circumstances impacting the polluted she becomes a radiant being, made up of roughness of the stone is present; at oth­ river, these students created art based on shafts of 1 ight. This sculpture is a beautiful ers, she has transformed it so that it seems Mel Chin conducted an experimental toxic their experience with the river, its ne­ piece of almost pure white statuario to be another material—Cloud Bird VI waste cleanup at Pig's Eye landfill in St. glected state, the surrounding life forms marble which shows the technical skill of (1992) is carved from pink Portuguese Paul, Minnesota in Revival Field (1990- and plans to revitalize the river. the artist, so that the viewer sees the present). His gallery installation includes marble which is so highly polished on the sparkle of rough marble, its luminescence the chain-link gate taken from the 60 exterior of the form that it seems like The artists exhibited in Fragile Ecologies when polished; even the amber color of square foot plot, drawings of the plants glass, yet one is brought back to the are involved in active, collaborative pub­ surface minerals is left in places to further he planted and harvested on this site that reality of the material on the interior which lic art projects which are specific to a reference the physical world. Falkman absorb toxic heavy metals, a drawn plan is methodically scored and left somewhat particular site at a particular time. These combines this mastery of material with and a model of the site. Although Chin's rough. In a work such as Promenade projects are process oriented and often striking content to make works of ex­ artwork is complicated and requires Daphne V(199D, surfaces are extremely involve performance. Although these treme beauty and power. knowledge of his process, he success- smooth, but without a glossy finish so pieces function as art on their own, it is Linda Corbin-Pardee 11 TALLEY'S FOLLY SIX WORKS The Juliana Hatfield Three James Lanford Wilson Milwaukee Dance Theatre Become What You Are (Mammoth) Laid (Fontana/Mercury) Boulevard Ensemble December 9-11 "I'm only human, I am weak," confesses Just why is James wearing dresses and December 17-January 9 Stiemke Theater Juliana Hatlfield on Become What You eating bananas on the cover of their latest Are, revealing the self-deprecation that release? Who cares? Laid has got a lyri­ "Let me not to the marriage of true minds Isabelle Kralj, artistic director of Milwau­ pulses through its dozen charming songs. cal alternative sound that runs the emo­ admit impediments," Shakespeare wrote kee Dance Theatre, seems to have a win­ Her quirky honesty has always been the tional gamut, from the impish sexiness of in 1600. In his warm and perceptive ning formula for selecting dances for her appeal of her lyrics, though musically the the title track to the plaintiveness of "Out Talley's Folly, Lanford Wilson breathes company's concerts. The opening pro­ "three" tends toward the sim plistic. Hatfield To Get You." The rhythm and repetition life into that adage centuries later, in 1944 gram of the company's seventh year in­ plays a few different cards this time: she along with the eclectic combination of Missouri. Matt Friedman, a nerdy, gre­ cluded dances ranging from comedic registers her distaste for humanity ("For chiming guitar, bass and percussion with garious Jewish accountant from St. Louis, theater to joyous celebrations of pure the Birds"), small-town tedium ("Feelin' soaring violin and delicate keyboard pulls and Sally Talley, bright, 31 years old and movement and romping celebrations of Massachusetts"), and pretty faces worth you right into the songs. Tim Booth's dis­ already branded an old maid by her of­ movement for movement's sake. Though millions ("Supermodel"). The odes to tinctive, vibrating, sometimes chant-like ficious, small-town family, are two fragile all the dances were entertaining displays unrequited love, which formed most of her but always emotional vocals are the real hearts stumbling toward each other with of the dancers' advanced technique, the last outing, here suggest more hope than narcotic on this CD, however. Laid does wonderful, often painful, inevitability. two dances by New York choreographer brokenheartedness ("Spin the Bottle"), go in a new direction for James. Booth Wilson allows his audience to witness the Allyson Green were the most intriguing. marking her as a lightweight, less angry says it's a more subtle approach for the deliciously awkward union by firmly Polly Jean Harvey. Musically, Hatfield band, a "stripped down sound." The gentle planting them in the role of voyeurs, Green's poignant duet entitled Between (guitar), Dean Fisher (bass) and Todd touch of Brian Eno on the production end who, as Matt informs them, are "all out in (Songs of Unrest) showed Kralj and Ed Phillips (drums) craft pop that's often as of things is also apparent. Fungus it's not, the river." That's because the couple's Burgess in a complex and mysterious irrestible as her plaintive, childlike and but it does grow on you until you can't get story unfolds in the curlicued Victorian relationship. The dance was a series of candid voice. MP it out of your head. AR Talley boathouse, where the two trysted encounters, each with an unpredictable exactly one year before. flavor. A gentle cradling of the head was The Lemonheads Cocteau Twins met with an abrupt retreat; warm em­ Come On Feel (Atlantic) Four-Calendar Cafe (Capitol) braces lead to violent recoils; and con­ The Boulevard Ensemble's intimate Evan Dando, the be all and end all of the Once again the Cocteau Twins revive the fronting attacks melted into stillness. The staging of Talley's Folly, especially Dana Lemonheads, has been accused by critics same sound and melodies but manage to supple synchronous movements, caress­ Fralick's weathered boathouse, fortified of not taking enough time and care with do it better than they've ever done before. ing hand gestures and strong physical the sense that the audience was, in effect, his music. Dando, of course, is not the first "Bluebeard," one of the new tracks, is assaults, were performed with a kind of peering through river weeds at Matt person to be accused of that. The point is easily recognizable as a Cocteau Twins detachment that kept the physical attack (Howard Goldstein) and Sally's (Jane that while we're all waiting for Dando to song; it is undoubtedly creative but ironi­ Hanley) tempestuous and tenderreunion. from leaving a permanent scar and the craft the perfect album, what he has come cally familiar. The only noticable differ­ Matt, who has mustered the courage to tender gesture from promising a roman­ up with so far is pleasant enough. The ence between this and past CDs is the lack return to the Talley farm to open his heart tic future. The dance ended without a Lemonheads' most recent effort, Come on of complex percussion—which always feeling of resolution—only the intimation to its scorned daughter, confides at the seemed to be a key element to their sound. that similar encounters were likely to Feel, has the same melodic sound as their start of the show that "if everything goes They've proven us wrong. As usual, half occur in the future. Kralj and Burgess previous albums. Songs have wonderful well for me tonight, this should be a the lyrics are unintelligable, yet this is gave sensitive and compelling perfor­ hooks, a nice turn of phrase. Others are waltz, one-two-three, one-two-three." But expected and somehow enchanting. The mances; Burgess, especially, allowed the simply bizarre. On the plus side we have Sally's exasperation and fear deflates his fascinating aspect of this group is their dance to unfold as though it were a "It's About Time," a wistful tune of wanting hopes for a graceful dance; when he ability to repeatedly present a piece of fragment of life rather than a choreo­ that was written for his sometime col­ explains to her that "people are eggs" work that is unique, moving and, at the who are "careful not to bang up against graphed dance. laborator Juliana Hatfield. On the other hand we have "Style" a banal and boring same time, familiar. Four Calendar Cafe each other too hard," her own protective is another creative achievement that is a shell becomes all the more impenetrable. song. "Rick James Style," featuring, ta-da, Allyson Green both choreographed and Rick James, adds to the ending. DW pleasure to hear. CB At times, the Boulevard's staging was just performed the solo Treading Red. Dressed as stiff and didn't swirl as smoothly as a in white, she began downstage right, waltz. Plagued by periodic bursts of forced surrounded by a shaft of translucent fabric awkwardness and unwieldy accents, suspended from the ceiling, and within a Goldstein and Hanley occasionally square of what appeared to be carefully couldn't sustain the "one-two-three" arranges shards of glass. She repeatedly easiness that the play requires. crouched and rose buoyantly, arms out­ stretched like a majestic bird. Inside her 1994 Hal Leonard Jazz Series Goldstein in particular seemed more fo­ nest, she could experiment endlessly with cused on a distinct enunciation of his movement and calibrate change with each Gerry Mulligan, saxophone & the Gerry Mulligan Quartet cumbersome German accent than Mart's repetition. warm, silly charm and deeply buried Saturday, March 12 memories of terror in pre-war Europe. She soon journeyed upstage left, plung­ His speech patterns slowed to pauses so ing into a square lit in red. From there, she George Shearing, piano & Joe Williams, vocals wide a Mack truck could emerge through rose slowly, now clothed in a billowy, red them. Although both were initially ham­ shift. As though the new covering were a Thursday, April 7 pered by the accent and a sluggish cloak of courage, she ventured to other opening monologue which relied more parts of the stage where her movements on gesture than feeling, Goldstein and became large and explosive. Though she Roy Hargrove, trumpet & the Roy Hargrove Quintet and the production rallied soon after. When was clearly physically exhausted, the in­ Stanley Turrentine, tenor saxophone concentrated on his efforts to unravel tensity of the movement never dirninished Saturday, April 30 Sally's past threads of disappointment and the feverish pitch continued until the and rejection, he blossomed consider­ dance ended—unexpectedly—with All concerts begin at 8 pm in the Pabst Theater. ably. Green slowly walking off stage. Call 286-3663 for tickets.

Maureen Kilmurry's direction steadied the As a metaphor for the artist's relentless keeling show and, without resorting to pursuit of her choreographic vision, the mawkishness, resulted in a moving tug- abrupt ending seemed to signify that this of-war between the characters, a battle of was only one choreographic session— wills and past hurts. Though spotty, the the creative process would continue. tension was palatable, due mostly to Hanley's calm expressiveness. With Treading Redwas a physical tour de force. glowing eyes and quick smile betraying In it Green challenged the limits of her her resistance to Mart's goofy overtures, stamina and strength and showed herself her inner struggle was vivid. And, much to be an intensely focused performer. like the uneven but sincere production she brightened, Hanley's Sally, after a Between and Treading Red should be rocky start, relaxed into the rhythm of programmed again. Eah offered subdties Mart's waltz, as gentle as water lapping that were impossible to embrace in just on the edges of that boathouse. one viewing. Megan Powell Nina Nelson

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13 READERS' PAGE

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UUeS'" Hoveeveuingtomy ^ineVltaWe' for any to describing^ *Slbdp but use one another and spend on* ade,everystreeti riends X todlte t , Njrttat e,se °° t ^cW^pseso-n-elos. ^ere are myriad causes tof«otdW9^^M^ time- t-,nuestov/ave Seribesueban^et.ouS beauW, e ^ionagalnst^rUanf , darKiycolodulPast^ ioaroore « enchanted, ^ f our every Prague's d«»y CIty, thanK ies, Pegi T^ a magic «and ov oS restdent « ma" masonab^ legends ^*^or L experience M»# momentary al fflaS1 henlie V f a m ^key.But" ^„;olved. mystics. my*» ' lfUinthel»e" „n of disbete - . rief olimpse Under Bmperoiju oecentury^ SES^**" umas several example^.^^ Ulrfi 1 ^^*" :Sm^ptophe u0derstanding. nQsed .vifitne ' thoughinchnet^r^ atteWP e !«TychoBrahepouiedl t Ainong r seag p0e^otoofadesiietonndo „onomer iy roeEmpe'° n eyes and ^ofd^hcommunity,^; cal Sp0n8 uhelo rto events and be qf ?,a^,Sebeen pan and Pa^wher, Pogt°mw^ Z most to*""°"S^ gating *e ^.creationalvntrng' j^ned tote MagiCi s f wt,t «s tespo-'f^Unglo «• rsTqueen-po^ ° ^ ° A L visual ans-^ dane Rabb» U**'• j man that, ac and ,s Mag,Cl^ redemption, sel un ness, shame, lu •i.takeonasigi h-s cabai/ aintin8 -id—- pw. ^ V feel » P * a door that r^^^ametime. ^ence>PP^0theti^ admits f»c a vAl . gle one can step *»"• hete ordinary me f ^ .knowiamthedia^ondm --°fC:rdethenlnevltableso^ Each day l^hthat'S magic this rough-..* Love yourself Scurr-^^^onneue

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MikeZetteler Gr0g tbe way they Molly ttheSorbonne. by Milwaukee literature at the > M y work of the past year has evolved from my recent reading of the lives of the Christian mystic saints of 13th through 16th century Europe (Teresa of Avila in particular). Their biographies are replete with accounts of visions, transformations and religious ecstacies. Largely these were women living communally, learning mystical practices together and sharing their visions. They borrowed patterns from each other, and there were phenomena particular to certain convents in certain regions. Eventually the Church advised against developing the disposition to paramystical experiences, including excessive fasting or anorexia, and confessors persuaded silence on these matters.

However, medieval people loved marvels and word of extraordinary happenings spread quickly. The farther from the source, the more exaggerated the facts became. Groupies gathered for Teresa of Avila, Catherine of Siena, Elizabeth of Hungary and Hadewijch of Belgium to name just a few. Stigmatas were proclaimed and many disproved. Ecstasies and levitations were not Visions, uncommon. Some were attributed to the devil. Hagiographers' accounts of the period were full of these signs and Transformations powers. Whatever the explanation, most of these saints were genuine mystics and profoundly spiritual, having, if and Ecstasy anything, an excess of faith. By- contrast, my generation's loss of faith, and nostalgia and longing for certainty and continuity r have provoked my current ! aic » i ••. j v I a work. Somehow dealing with these historical matters has pushed my work into a new—for me— installation format which utilizes both two and three dimensional materials, and in it the concept of repetition as it refers to daily regimens and rituals—oral prayers, chants, communal meals—dovetails with postmodern poetics and repetition.

While these powerful personae have been the genesis for this work, my point of view as an artist in the 1990s includes both skepticism and humor as well as admiration.

15 I remember a Sports Illustrated The princess of magic, Julie Sobanski is one of the few wome writer doing a story on wrestling,

He asked the question,

"Is wrestling theater or is it sport?" It's neither.

It's wrestling.

I wanted to find out about magic.

Is magic >•$. theater or is magic perfor­ mance art?

Well, magic is

Vv. -" neither. It's

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Magic entered my life in the form of a boxed set of tricks, a holiday gift for a precocious and solitary seven-year-old. The modest feats of conjuring con­ tained in that box began an enduring fascination with the strange and mysterious; my interest in magic has since developed from a hobby, to a part- time job to a career.

During my first year of college, although I had been a working magician for some time, I began feeling vaguely dissatisfied with magic. Was it all nothing more than trick boxes and clever sleight-of-hand? Sure, I could find a selected card in the deck or change a silk handkerchief to an apple, but why? What did it mean? "Magic was formed

My search for the meaning of magic led me to study its history—not simply as in our struggle to a performing art, but also as a cultural wellspring. I began taking courses in anthropology and reading books about ancient myth and religion. What I make sense of, and discovered changed the role of magic in my life and work. take direction in, I learned that magic is a very important art; it is probably the oldest. In its deepest sense, magic is a universe that is part of humankind's endless effort to understand the mysteries of creation, time, life and death. Its roots are buried in the origins of human culture, often beyond our 70,000 years ago, and from its branches have sprung art, science, religion. comprehension

Our prehistoric ancestors lived in a world filled and control." with magic—in the sky above them, in the ground below them, and in every living thing. All that they could see and feel was created and sustained by magic. When they died, they were buried according to magic ritual with tools, food and clothing to sustain them in the next life.

Magic, like science, was a way of understanding the world, its origins, and our place in it. The arts as we know them—theatre, dance, music—arose as rituals performed to produce desired results, as a means of communicating with the spirits of wind and water, earth and animal; later, they became ways of expressing the wonder of life, the planet, and the Universe. In this way, magic led from the cave paintings at Lascaux to the photo­ graphs of Ansel Adams, from astrology to as­ tronomy, from the shaman to Einstein.

Magic was formed in our struggle to make sense of, and take direction in, a universe that is often beyond our comprehension and control. In order to answer the questions, "Who am I? Where do I come from? Where am I going?" we have created a complex cosmos of gods, ghosts, myth and magic.

I remember an early encounter with the awe and mystery of the world: I was eleven years old; my family and I were vacationing in Kentucky, and we went on a tour of Mammoth Cave. The tour guide led us into a vast underground cavern, and said, "I'll try to give you an idea ofwha t the first explorers saw when they discovered this cave." Then she shut off the lights. Darkness. Utter, palpable blackness all around. I waved my hand in front of my face. Nothing. Nothing, but the echo of dripping water, and the sound of my own thoughts.

Recently, I concluded a one-man show, Haunting with a seance held in total darkness. Afterward, many people approached me to say how weird and wonderful those last fifteenminute s had been. We live in a world of streetlights and glowing television screens; most people have never experienced complete darkness. Some said they lost track of whether their eyes were open or closed. Some said they saw things. Some said they heard things. All of them said it was an experience they wouldn't forget.

Living in today's technological society, it is easy to dismiss our progenitors as savages, to become bored and jaded, and to assume that we now know everything there is to know. In my work, I try to reawaken the sense of curiosity and wonder that is our cultural legacy. As a magician, it is my job to remember where we came from, and to remind us that we live in a universe where surprises are around the next corner, where each new discovery presents us with a deeper mystery.

"The most beautiful thing we can experience is the mysterious. It is the source of all true art and science." — Albert Einstein

David Parr is an actor/mqjfician, authorand kctureron things mysterious. He was last seen in American Inside Theatre's production oflt's a Wonderful Life. 20 Art Muscle oudini, a performer who based his act on vaudeville career in magic. Obsessively research­ built himself an ankle brace, ignored the pain and popular notions of entertainment super­ ing famous magicians and practicing their best went on with the show. charged with physical manifestations of tricks, he longed for a career in show business to H emotional torment and elevated to superstar take him away from the poverty he grew up with. Proud of his strength and excellent physical condi­ status by a mastery of media hype, established a He took his moniker from his idol, French magician tion, he boasted during a lecture vivid prophecy of what late 20th century culture Robert-Houdin. He just a few days later that he could en­ would become. As a performance artist he didn't dropped the Robert part and dure any intense blow to his ab­ necessarily challenge his audience's beliefs about added the i. domen. Before he could brace life, but succeeded in leaving them perfectly himself, the school boxing dumbfounded. He believed the only supernatural While his rabbi father disap­ champ punched him in the power was that of mind over matter backed up with proved of the show busi­ stomach three times catching a little sleight-of-hand. His explosive survivalist ness career he craved, his him off-guard. Houdini instinct—an extension of the tormented soul seek­ mother encouraged him, brushed off the incident, ig­ ing escape from earthly pain—provided the basis even sewing his earliest satin nored the pain and carried for an art that attempted to deny the inevitability of stage costumes. Their bond | on. Fractures, pneumonia death. rivals other famous mother | and near death experiences and son relationships from H were part of his art and he Houdini spentmost of his life having himself locked Oedipus to Elvis. The pain, always survived them. This up in hand-cuffs, leg-irons, manacles, straitjackets loneliness and spiritual torment time was different. The and jail cells, sealed in water tanks and dropped he felt after experiencing her punches had ruptured his into rivers. He dreamt of leaping shackled off the death drove him into a depres­ appendix, poisoning his world's tallest building (at the time the Woolworth sion so deep that his usual pas- | system with an infection Building in New York City), where he would free sion for his work was at last ex­ he couldn't fight with will- himself, then descend by a parachute to the street. tinguished. Letters to his brother | power alone. Perhaps he was a magician with a death wish. document his emotional re­ sponse as he wrote of his "heavy He persisted for days, His "secret" was thought to be magical power but heart and soul pain" upon her performing flawlessly in is now believed to be brute force. Contorting himself death. Only a macabre visit to a a pain-induced delirium and struggling to writhe out of self-imposed re­ graveyard of suicides in Monte until he collapsed after the straints, he ignored the burning skin abrasions, the Carlo restored his artistic fervor. final curtain at a show in De­ bruises and the lack of oxygen in confined spaces He wrote copious notes about the troit. Acquiescing to pressure and muscled his way free. His high tolerance for visit and was particularly struck by from his wife and doctor, he pain and phenomenal physical endurance eased the grave of a man and his wife who cancelled his performances him through his kamikaze feats albeit with clothes died in a suicide pact. and submitted to surgery. But rumpled, face pale, and body covered in perspira­ it was too late. tion and badly chafed. Behind this facade of dare­ When his mother died, he offered any medium devil performances he brazenly concealed his who could put him in communication with her a With impeccable timing, he died physical and psychic pain. generous reward. Though his desire to find real on Halloween night from the rou- HOUDINI'S SOUL PAIN Text by J. Shimon & J. Lindemann Illustration by John Shimon

Houdini's favorite public­ magic and psychic phe­ tine complications of appendicitis. His death was ity photos showed him the secrets of male magic: nomena had never been his greatest performance of all. On his death bed, nearly nude, his young, stronger, he became bit­ he vowed to communicate with his wife from the athletic body clad only in a terly disillusioned with grave. The message "Rosabelle, believe" would decorative loin cloth that the whole enterprise. His assure her that "it is Houdini speaking." must have titillated view­ disappointment fuelled ers. His arms and legs were his fanatical campaign to He was buried in his bronze show casket and has bound in manacles and debunk the world's most since not been known to have made any confirmable chains that appeared to be famous mediums. Opin­ communications. Halloween seances commemo­ too heavy for him to lift. ionated writings and lec­ rate his death and anticipate his message from the They may have provided a tures revealing their illu­ great beyond. The Master Mystifier's final act left visual metaphor for the sions and denouncing his the world to wait an eternity for fulfillment of the oppression of the burgeon­ idols soon followed. In promise. ing industrial culture, and contrast, his own outra­ therefore, he tapped into geous escape stunts and audiences' latent, desire to proclamations never Houdini, always convinced of his own impor­ escape, to flee the pain and seemed more convincing tance, documented his career extensively in scrap- misery of everyday life. to audiences. The less he books filled with news clippings, photographs, post­ believed, the more they ers and handbills. After his death, his memorabilia Early in his show business believed. was kept by his brother Theodore Hardeen, also a career, he eliminated the magician and escape artist, who in turn passed typical magic tricks that From the very start Houd­ them on to Sidney H. Radner. The Radner Collec­ every vaudeville performer ini envisioned putting on tion was placed under the care of the Houdini could do and created a male magic? his very own, full length Historical Center in Appleton (Houdini's home­ performance fixated on 7/7^ nit stageshow that would be town) in 1988 where imminent danger and the a pastiche of magic, es­ much of it is on dis­ probability of his own capes and spirit exposes. play. An intriguing T>!l>«l'"CT«tai demise. He learned right away not to make his es­ At 52, he had the know-how and resources to real­ aspect of the center's capes look too easy. His timing built suspense ize this dream and embarked on what he called his installation are blow­ while his showmanship made it look like suicide. "farewell tour" before retiring full time to writing ups from the pages of Drowning or suffocating were shown to be entirely and lecturing. In a foretelling action he bought Houdini 'sscrapbooks. possible. The audience cheered him on believing himself a showy, bronze casket that he planned to The Houdini Histori­ that magic (or his assistants) would save him. triumphantly escape from after it was submerged cal Center (330 East in water or buried underground. College Avenue, Ap­ Everybody longs for magic, and Harry Houdini was pleton, Wisconsin, no exception. Ever since he saw his first magic He worked around the clock preparing for the 414/733-8445) fea­ show, he wanted magic to deliver him from pov­ show, sleeping maybe an hour a day. By the time tures a permanent erty, death and his own humanness. In Milwaukee, the show began he was exhausted. Right off the bat exhibit of photos and where he lived briefly as a teen, Houdini saw a he fractured his ankle on stage while being low­ artifacts interpreting magic act that would inspire him to pursue a ered upside down into his water torture cell. He just Houdini's life.

21 LA GALLERIA DEL CON 777 North Jefferson Arts Organizations: Now-February 20 Milwaukee, Wisconsin 53202 Please add Art Muscle to Charles Kaiser, Recent Works (414)276-7545 your mailing lists February 27-March 27 Steven Stipelman, Fashion Illustrations THE FIGU|: PO Box93219 Mount Mary College, Marian Gallery, 2900 N February 11 thru March Milwaukee, WI 53203 Menomonee River Pkwy; 256-1210 Attn: Megan Powell H Opening' 414/672-8485 Now-February 20 Pilgrimage II: From Solipsism to Christus Victor Artist Reception ' Submit calendar listings for April/May in writ­ Michael Anderson;multimedia work; Eastbrook Friday, February 11 ing on or before Mar. 10,1994. Include dates, Art Gallery, 2844 N Oakland; 332-7730 7-9pm i times, single ticket price, location & phone number. Unless otherwise stated, ail phone Now-February 23 numbers are area code 414. The ArchitecturalOrnament of Louis HSullivan; Gallery of Fine / UW-Green Bay, Lawton Gallery, 2420 Nicolet Hours: Tues. -Sat 110 Dr, Green Bay; 465-2293 or by appointmali Now-February 24 Moving soon to a new* Francisco Mora 1226 North Astor* Now-Febiuary 9 Mexican-bom painter & printmaker Roy Staab: Nature by Design February 27-March 25 Photos & drawings of temporal sculptures Handmade Books by Caren Heft, Amos Paul UP INVITATIONAL Tom Rauschke & Kaaren Wiken Kennedy, Pat Winer, reception Feb 27 2-4pm; Artists create wilderness experiences with Cardinal Stritch College, Frederick Layton Honor wooden shapes & embroideries; The Kohler- Gallery, 6801 N Yates; 352-5400 Clark Gallery, 1317 E Brady; 271 -7001 Now-February 25 Now-February 11 Jody dePew McLeane, Recent Pastels Local & Student Artwork Now-March 10 tv3lY § American Indian Arts UWM Union Art Gallery, 220 E Kenwood; A Potpourri of Gallery Artists 229-6310 March 15-April 30 1803 MONROE ST. A New Generation: Ceramics & Fibers MADISON, WI 53711 Now-February 12 Emerging craft artists in jointexhibitwith Wustum (608) 251-5451 Out On the Beach: The Subterranean Art of Museum; Katie Gingrass Gallery, 241 N Mike "Ringo" Wn/te/Leo Feldman Gallery, 301 Broadway; 289-0855 N Water; 482-3695 Now-February 26 As KATY'S begins its 20th year, celebrate a Now-February 12 The New York School: Photography in /he This Far/No Further 79305,405,505,605 25% discount during our Sally GaugerJensen, paintings; Gallery of Wis­ Includes Robert Frank, Lisette Model, Weege, consin Art, Ltd, 931 E Ogden; 278-8088 others; Dean Jensen Gallery, 165 N Broad­ ANNUAL VALENTINE'S DAY SALE way; 278-7100 Now-February 13 Feb. 12-19,1994 A Delicate Prey: Mark Mulhern Monotypes Now-February 26 Inspired by Paul Bowles story The Delicate Prey Michael Meilahn, New Works in Glass Now-February 26 Lee Mothes, Oceans & Dreams, New Works in HOURS: 66th Scholastic Awards Watercolor, Art Elements Gallery, 1400 W Wisconsin junior & senior high school students Sat. 12th 10-8 Mequon Rd, Mequon; 241 -7040 Now-March 20 Sun. 13th 12-5 M-F14th-18th 10-6 Jacob Lawrence: The Migration Series Now-February 26 Sat. 19th 10-5 Panel paintings documenting African-Ameri­ National Small Print Exhibition cans during & after WW1 Artists from across the country; UW-Parkside, Now-April 10 Communication Arts Gallery, 900 Wood Rd, Currents 23: Damien Hirst Kenosha; 595-2025 British sculptor of large-scale, floor-mounted glass enclosures Now-February 27 February 25-June 26 Master Silver by Paul Storr, His Contemporar­ Regionalism in Wisconsin Art, 1930-1945 ies & Followers; English Regency style Works depicting everyday existence during & The Cranes of Japan after Great Depression Masahiro Wada; color photographs March 4-May 15 Brice Marden Prints March 5-April 10 Abstract forms with emotional content Student Art Exhibition Marchll-May8 Central Wisconsin students; Leigh Yawkey Driven to Create: The Anthony Petullo Collec­ Woodson Art Museum, 700 N 12th, Wausau; tion of Self-Taught & Outsider Art 715/845-7010 Paintings & works on paper from Europe & America; Milwaukee Art Museum; 224-3200 Now-February 27 Nick Cave - Cultural Transitions: Remake Now-February 13 Fashions by fiber & performance artist Louis Icart, Prints March 6-April 17 Continuing to March 5th: "Cold Hands: Warm Art" Works by master of drypoint & etching; St Ecology Show John's Uihlein-Peters Galiery, 1840 N Pros­ Local artists' views of ecological concerns; William Weege: f&w IfbrJr Allison B. Cooke: Paintings & Pastels pect; 291 -4993 Walkers Point Center for the Arts, 911 W National; 672-2787 March /J& "Art - Off & On The Wall" Now-February 13 Student Competition-Foundation Work Now-February 28 plus Gallery Group Show & New Aqvisitions Print Sale! Works in all media from UWM Foundations Susan Falkman, Angel Series Marble Tiles Sunday, March 13th Noon- 5:OQ p.m. Program; UWM Fine Arts Gallery, 2400 E February 19-March26 Kenwood; 229-5070 Claude Weisbuch Retrospective Lithographs,drypoints, drawings; reception Feb PELTZ GALLERY 1119 F. Knapp St. Milw. 07 414-223-4278 Now-February 17 1911 am-5pm; David Barnett Gallery, 1024 E An Oriental Feast for Your Eyes State; 271 -5058 Oriental brushwork by Barbara Boehm, Luanne Ehr, Adrienne Hirsch; Alfons Gallery, 1501 S Now-March 4 Vh\iv^ismybier,zvfiazcoiM/k6e, Layton; 352-4647 Wisconsin Painters & Sculptors Biennial 9&must6eonife.sea,cmdfatIam fane, alone, Lawrence University: Wriston Art Center Gal­ Now-February 17 leries, Appleton; 832-6585 9fe must Seontfie sea amuirigrn.tfie.nets, Inside the Skin: Living With Our Bodies Xndfaz lamattome tfvwGngneedks, 5 artists address the body; painting, sculpture, Now-March 5 9kmust6emtfesmsetiBigsai[, mixed media; Alverno College Art & Cultures Cold Hands: Warm Art ^jdhatlamatfomestringay (\ Gallery; 3401 S 39th; 382-6149 William Weege, new work & Allison B Cooke, t "*| fnmL']^I R$9(ESS!\ By Iitne 'Mpmi1893\ paintings & pastels Now-February 18 March 13- Pat Hidson: New Paintings Art Off & On the Wall Tory Folliard Gallery, 233 N Milwaukee; 273- Gallery group show & new acquisitions print 7311 sale; Peltz Gallery, 1119 E Knapp; 223-4278

Now-February 19 Now-March 6 Janica Yoder, Photographs Six Counties Constructions of unusual image juxtapositions Works by artists from 6 Wisconsin counties Now-February 19 February 6-May 2 Robert Mapplethorpe, Flowers Susie Brandt: Scraps & Selvage February 20-March 30 "Blankets" constructed of clothing labels & fab­ Gallery Artists ric selvage c < ( t Africano, Laufer, Kushner, Roldan, Mulhern, Hung Liu: Tales of Chinese Women BiE BLU E MM> others; Michael H Lord Gallery, 420 E Wiscon­ Paintings, lithographs & pastels representing sin; 272-1007 19th-century Chinese women posed in West­ 81ST.JOr^^iST.\ ern fashion; JM Kohler Arts Center, 608 New Now-February 19 York, Sheboygan; 458-6144 Cabin Fever HBPPWSFJfW* ^•3^s--,r:3STW.V Riverwest Art Center, 825 E Center; 374-4722 22 Art Muscle *W

\llOUT THERE Cabochon Gems and Designs

::s .,/ >.:,The performances slated for Betty Salamun's Dancecircus' upcoming Out of Our Bones promise and the American Gem Trade Association ::**:. to be eclectic, ranging from the profoundly simple to the invigorating blending of art forms. present the winners of the Award-winning Chicago choreographer Bob Eisen has set an as-yet-untitled work which will be performed without music on the Dancecircus company . Working in silence has been a 1994 Spectrum Award Competition, challenging and truly creative experience, according to Betty Salamun. "Because the piece is in including the First Place piece by silence, we rely more on interaction between dancers, on knowing the movements and on Cabochon staff designer • breath rhythms," she says. After the hushed resonance of Eisen's dance, a jazz music set by Madisons' Joan Wildman Trio will shift the show into high gear. They will remain on hand to Phil Delano. accompany Salamun's own Artifacts, an interdiscplinary piece which integrates Wildman's See this touring exhibition of score and a dance originally developed with poet Joe Cardillo. Both the poem and dance are jewelry at Cabochon episodic, presented in "a structure that gives a sense of flipping back and forth in time," says March 3 - 6,1994. Salamun. Out of Our Bones will be performed weekends March 4-12 at Danceworks, 727 N. Milwaukee. Cabochon Gems and Designs 2595 North Downer Avenue Now-March 10 March 6-April 3 Milwaukee, WI 53211 Richard Waswo, New Paintings Selections from the Collection of Janet & Marvin 414-963*9914 Mark Winter, Sculpture Fishman; focus on artists of the Weimar Repub­ Grava Gallery, 1209 E Brady; 277-8228 lic; UWM Art Museum, Vogel Hall, 3253 N Downer; 229-5070 Now-March 13 George Catlin February 13-March 20 • North American Indian Paintings; 19th century Nick Cave: Sound Suits; costumes made of artist's documentation of Native Americans; detrius; & Jeffrey Blake & Vincent Borrelli: Re­ • reception Feb 20 1:30-4pm; cent Photographs; Philadelphia artists' glimpse March 16-April 24 of urban & suburban life; & Elsa Freund: A UW Centers' Faculty Art Exhibition Modern Jeweler; Charles A Wustum Museum The Allegorical Image: Selected Works ofAletha of Fine Arts, 2519 Northwestern Ave, Racine; A Jones & Jackie Ritke 636-9177 Water-based media; reception Mar 20 1:30- 4pm; West Bend Art Museum, 300 S 6th, West February 13-March 24 0} Bend, 334-9638 Remnants; photographs documenting Jewish life after Communism; reception Feb 13 1- Now-March 25 3pm; Jewish Community Center, 6255 N Santa Latino Artists of Michigan Monica Blvd; 964-4444 United Community Center, Gallery of the Americas, 1028 S 9th; 384-3100 February 18-April 9 en Norbert A Janowiak, Photographs Now-March 31 Steven Sanfilippo, Furniture; reception Feb 18 Francois Mauplot, Paintings 7-1 Opm; Silver Paper Gallery, 217 N Broad­ Bernard De Jonghe, Glass Sculpture way; 273-7737 Galerie Art Today, 218 N Water, 278-1211 February 18-April 18 Now-April 10 Outside In; Award-winning Wisconsin artists; Romantic Images, Painters of Light reception Feb 20 2-4pm Swell Gregory Rodriguez & James C Prohl; Piano March 1-31 Gallery, 219 N Milwaukee; 276-3525/964- Youth Art Month; Statewide exhibit of audio/ 3605 visual work; AGA Center for Visual Arts, 130 N Feed & Wine Morrison, Appleton; 733-4089 Now-April 19 1340 W. TOWNE SQ. RD. The Sublime to fhe Ridiculous: Gallery Artists February 25-March 23 OPEN for Valentine's Day- Rudy Rotter, Stephanie Soltes, Matt Robertson, Reading Art: A Juried Exhibition of Artists' Make your reservation now... MEQUON, WI 53092 Rev Norb, Mark Landgraf, Alan Luft, Nancy Books; reception Feb 25 7-9:30pm Dan Dance at the piano! Mitchell; Neo-Post-Now Gallery, 719 York St, March 28-April 15 241-9589 Manitowoc, 682-0337 John Clark: Paintings from Nature & the Imagi­ nation; reception Mar 29 7-9:30pm; UWM Now-September 1994 Union Art Gallery, 2200 Kenwood Blvd; 229- Man Ray in America 6310 Paintings, prints, drawings, photographs & Not many copy places can give you... objects March 4-27 February 4-March 20 The Gang of 40: Recollecting/Reconnecting Kings & Queens & Elegant Tureens: 18th & 40 works by 40 women artists; reception Mar 19th Century Decorative Arts from the Campbell 4 7-1 Opm; Walker's Point Artists Association/ Color proofs from your Museum; Vessels from US & Europe; reception Gallery 218^218 S 2nd; 277-7800 Feb 4 7-9pm; Haggerty Museum of Art, 13th & Clybourn; 288-7290 March 5-April 30 acintosh o Ten By Ten; ten pots by ten potters; Marnie February 1-28 Pottery, 2711 N Bremen; 374-7687 Phillip Miller, Paintings ive you the best cofor output possible, Carl von Marr, drawings March 13-May 15 wr color. Canon®, Xerox® & Fiery® March 1-31 47th Annual Exhibit of the A/C Art Association Maribeth Devine, Furniture & Mannequins Reception Mar 13 1 -5pm; Cedarburg Cultural 3ye-sublimation on the 3M@Rainbow. Dennis Pearson, Beasties Center, W83 N643 Washington Avenue, DeLind Fine Art, 801 N Jefferson; 271 -8525 Cedarburg; 375-3676 <> February 1-28 The Manthey Family Show •©V- '\::: March 1-April 15 The Wauwatosa Artists Workshop Spring Show Wauwatosa Public Library Gallery, 7635 W February 13 Color Reproductions, Inc. North; 471-8484 City Lights N. Broadway • Milwaukee • 53202 Dances set to music about great world cities; 229 •FA3E3B3«3282 • MODEM 272 February 5-26 7pm; $15/$l 2; PAC: Vogel Hall; 351 -4333 Milwaukee Area Teachers of Art Prints, drawings, photographs February 17-20 March 6-25 This Night's For Mr B Charles Wickler, Pastels & Paintings Milwaukee Ballet Carroll College, Campus Center Gallery, 100 Tribute to George Balanchine; Th 7:30pm F Sa N East Ave, Waukesha; 524-7191 8pm Su 1:30 & 7pm; $8.50-$48.50; PAC: Uihlein Hall; 273-7206 February 6-24 sssmsaasm The Artist's Choice February 18 & 19 Reception Feb 6 l-4pm; West Allis Art Alli­ Field Work ance, West Allis City Hall Gallery, 7525 W Wild Space Dance Company Greenfield; 321-4850 Dances based on culture & lives of rural people; g$0> February 8-27 8pm; $12/$l 0; Alverno College, Pittman The­ •^ UP TO Metalsmith Invitational Exhibition ater, 3901 S 39th; 271-0307 Reception Feb 15 5:30-7:30pm 50% OFF Paints • Brushes" March 7-31 March 4-12 UP TO Portfolios UW- Whitewater Juried Student Art Show Out of Our Bones Reception Mar 7 5-7pm; UW-Whitewater, Betty Salamun's Dancecircus V^T Crossman Gallery, 800 W Main, Whitewater; Includes Artifact, music by Joan Wildman Trio 45% OFF Paper • Board • Airbrushes • Easels^ 472-1207 & premiere by Chicago's Bob Eisen; F Sa 8pm Su 3pm; $5; 727 N Milwaukee; 276-3191 20% OFF Sculpture Supplies • Fimo® • Sculpey February 11 -March 4 Midwinter Specials end March 15th ALL OF OUR CUSTOMERS ENJOY The Figure March 11 & 18 DISCOUNTS of 10%-30% EVERY DAY Traditional, divergent approaches; reception Ko-Thi Dance Company Feb 11 7-9pm; Galleria Del Conte, 777 N African dance & music; Jefferson; 276-7545 Mar 11 - 7:30pm; $11 /$9; John Michael Arts & Crafts Retail Store Kohler Arts Center, 608 York Ave, Sheboygan; 100A E. Pleasant St. (Walnut & 1ST), Milwaukee, WI February 13-March 27 458-6144; Mar 18 - 8pm; $10/$8; Prairie Hours: M-F 8:30-6, SAT 9-5 414-264-1580 Desire in Time, Time As Intimacy Performing Arts Center, 4050 Lighthouse Dr, Artists' treatment of time Racine; 631-3845 23 March 18 &19 February 5 & 6 Rhythm in Shoes Nuyorican Poets Live! Dancers & musicians tap into traditional Irish & Alverno Presents Appalachian dance forms; 8pm; $18/$ 15; New York poets slam; 8pm; $18/$l 5; Alverno Alverno College: Pitman Theatre, 3401 S 39th; College: Pitman Theatre, 3401 S 39th; 82- 382-6044 6044

February 10 Word Warriors & Six Feet Deep Sundays Readings preceded by open stage for poets at Sunday Bruch Tours 8:15pm; 9pm; free; People's Books, 3512 N Hour-long tours of art & architecture of Pfister Oakland; 962-0575 Hotel; 10am-2pm; free; Pfister Hotel, 424 E Wisconsin; 273-8222 February 11 Milwaukee Poetry Ensemble February 4 & March 4 Poetry & music exploring African history, Afri­ FirstFriday- Happy hour with exhibition tours, can-American & Caribbean traditions; 7pm; Feb 4: Jack Grassel & Berkeley Fudge; Mar 4: $7/$3; Milwaukee Art Museum; 224-3200 Casper; 5:30pm; $7/$5; Milwaukee Art Mu­ seum; 224-3200 February 16 & March 16 American, British, Irish Short Stories February 18 Presented by actor Yaakov Sullivan; 8pm; free; Creatines for Charity Benefit Auction Audubon Court Books, 383 W Brown Deer Rd; Silent & live auction, including Annie Leibovitz 351-9140 photo, live music; 6pm; $5; Pfister Hotel, Impe­ rial Ballroom, 424 E Wisconsin; 384-6644 February 17-March23 Author Signings February 26 Feb 17 - Jenny Joseph, When I Am an Old 16th Annual Grand Viennese Ball Woman I Shall Wear Purple; 7:30pm UWM School of Fine Arts Music Department Mar 6 - Anthony Bukoski, Children of Strang­ Dinner, dancing & UWM Wind Ensemble, ers; 2pm PEN INK AIRBRUSH Symphony, & Jazz Ensemble, period costume Mar 7 - Jill Lieber, Total Impact, 8pm Mar 23 - Anne Perry; 7:30pm ARKANSAS AUTHOR & ARTIST INTENSIVE INTRO TO AIRBRUSHING encouraged; cocktails 6:30pm; dinner 8pm; free; Audubon Court Books, 383 W Brown GARY SIMMONS IS BACK TO WITH ARTIST & AUTHOR PETER dancing 9pm; $125-$l 50/person; Marc Plaza Hotel, Crystal Ballroom, 509 W Wisconsin; Deer; 351-9140 GIVE A 2 DAY WORKSHOP WEST USING PRE-PLANNED 229-4762 FOR BEGINNER TO EXERCISES - GEOMETRIC SHAPES • March 10 INTERMEDIATE - LEARN FRISKET CUTTING - LAYERING TJ Richter w/ Hal Rammel HOW TO CREATE TEXTURE IN TECHNIQUES & MORE • INCLUDES Multimedia poet with player of "Cloud Eighf YOUR DRAWINGS - GARY IS THE BADGER 150 AIRBRUSH musical instruments, preceded by open stage AUTHOR OF DRAWING WITH SET TO TAKE HOME February 4-10 for poets at 8:15pm; 9pm; free; People's Books, TECHNICAL PENS' YOU MUST SAT FEB 26 Films From Africa 3512 N Oakland; 962-0575 BRING YOUR OWN TECH PEN Community Media Project/Great Lakes Film & MARCH 19 & 20 OR Video SATURDAY & SUNDAY SUN FEB 27 Feb 4 - Guelwarr 9:30 TO 4:00 Feb 5 - Just Another Girl on the IRT 10:00 TO 5:00 Mondays & Thursdays BOTH DAYS Feb 6 - Sambo Traore 185.00 Feb 8 - Ava & Gabriel Alia Levina, classical piano 90.00 210.00 AFTER Feb 9 - Seven Songs for Malcolm X 6-1 Opm; free 105.00 AFTER FEBRUARY 10 Feb 10 - Quartier Mozart; 7pm; $5/$3 stu­ Tuesdays, Wednesdays & Sundays MARCH 3 dents; UWM Union Theatre; 229-6971 Zoya Makhlina, classical piano Tu & Wed 6-1 Opm, Su noon-4pm; Audubon ARTISTANDDISPLAY 9015 WEST BURLEIGH 442-9100 LECTURES Court Books, 383 W Brown Deer; 351 -9140 MWF 9-6 -TUES & THUR 9-8PM - SAT 9-5 - SUNDAY 12-4 Tuesdays Fridays & Saturdays CHOSEN BY MILWAUKEE MAGAZINE AUG '93 BEST PLACE FOR ART SUPPLIES Milwaukee Art Museum Gallery Talks Thomas Clippert, classical guitar Feb 1 - Jacob Lawrence: The Migration Series7- 9 pm; free; Oakland Cafe, 3549 N Oakland; Feb 8 - Monotypes by Mark Mulhern 332-5440 Feb 15 - Scholastic Art Exhibition Mar 1 - Regionalism in Wisconsin Art Fridays & Saturdays Mar 8 - 8r/ce Marden Prints Jazz Piano, Guitar; 7:30pm; free; Audubon 7 Mar 15 - Jacob Lawrence: The Migration SeriesCour t Books; 383 W Brown Deer; 351 -9140 ^alle^uo^ *s4d& ^/OM Mar 29 - The Anthony Petullo Collection Tu 1:30pm; free w/admission; Milwaukee Art Fridays & Saturdays Museum; 224-3200 Jazz Piano, Guitar, Folk music; 7:30 pm; free; Stained Glass Specialists Daily's; 4001 N Oakland; 351 -9140 Lamps • Windows • Jewelry • Repairs Sundays Family Sundays Saturdays Classes Available Feb 6 - Contain Yourself Jerry Grillo Trio Feb 13 - Every Picture Tells a Story Jazz cabaret artist; 8pm; free; Cafe Phyllis; Feb 20 - Pisces, The Fish 332-7575 New Dimensions in Glass free w/admission;Milwaukee Art Museum; Mystical • Magical • Spiritual 224-3200 February 1-4 Youth Concert Reflections in glass February 10 Milwaukee Symphony Orchestra Nikki Giovanni: Racism 101 Harvey Felder conducts "Kaleidoscope;* T W 2120 E. Rusk • 482-0007 UWM Distinguished Lecture Series Th 10:30am & 12:30pm F 10:30am; $5.50/ Nicknamed "princess of black poetry;* 8pm; $4.50; PAC: Uihlein Hall; 273-7206 (Between Delaware &KKon Rusk St.) $7-$9.50; UWM Union, Wisconsin Room; 229- M, W, TH: 11:00-7:00 • T, F: 12:00-9:00 3728 February 1-March 15 Music in the Museum SAT: 12:00-5:30 • Or by appointment February 10 Feb 1 -Exotic Locales, Jeffrey Hollander Martha Wolff, PhD Feb 15 - Beethoven <$£^s Curator from Art Institute of Chicago lectures on Mar 1 - Liszt, Jeffrey Hollander, pianist 'The Art Institute Builds a Collection;* 6:15pm; Mar 15 - The Swing Era: Music of the 1940s

.-.. •:, • ••.. ...-.: •• • •: .,.." . ; • free w/admission; Milwaukee Art Museum; 5:30pm; $12/$l 0; Milwaukee Art Museum; 224-3200 224-3200

The Pabst Theater, UWM Great Artist Series & the Milwaukee March 3 February 2 & 3 Classical Guitar Society present Continuing Series: An Evening atChartres withJacob's Room Malcolm Miller-Medieval Stained Glass & Multimedia chamber opera on man's struggle Sculpture; 7pm; $7/$5; Milwaukee Art Mu­ to cope with memories of Holocaust; 8pm; $7/ seum; 224-3200 $5 students; UWM Fine Arts Theatre, 2400 E GUITAR SUMMIT Kenwood; 229-4308 February 4 The Smith Sisters Mondays Prairie Performing Arts Series Saturday, March 19 Poet's Monday Country-flavored folk; 8pm; $10/$8; Prairie Open mike & featured acts; 8:45pm; Cafe Performing Arts Center, 4050 Lighthouse Dr, 8 pm Melange, 720 Old World Third; 291 -9889 Racine; 631-3845

Pabst Theater 2nd & 4th Wednesdays February 4-6 featuring Poetry Slam Bill Traylor Trio 8:30pm; $2; Y-Not II, 706 E Lyon; 347-9972 Famed jazz trio; $14-$47; PAC: Uihlein Hall; Joe Pass -jazz 273-7206 February 3 & March 3 Leo Kottke - steel-string Poetry Reading February 4-26 Pepe Romero - classical Feb 3 - Mark Shoedl, JeffSchuitz, Kyle Cherek,Fe b 4 - Mid-Winter Folk Festival Talent Contest Pat Gima Feb 5 - Patty Stevenson w/ Linda Beck Paco Pena - flamenco Mar 3 - Ann Hosteller, Elinore Berry, Ron Block,Fe b 11 - David H B Drake; 7:30pm; $5 Frank Keppler Feb 12 - Art Theme, Peggy Hong, The Acciden • Call 286-3663 for tickets. Each night concludes with open mike; 7 pm; lals, Talent Contest Winner, 8pm; $5 free; Audubon Court Books, 383 W Brown Feb 13 - Open Stage; $1 Deer; 351-9140 Feb 18 - George Gutmann w/Poet's Open Mike 24 Art Muscle Feb 19 - Martin Jack Rosenblum February 24 Feb 21 - Board Meeting; 7pm The Veronika String Quartet Feb 25 - Brennan Cornwell Institute of Chamber Music Feb 26 - Pickin' Up Speed 8pm; $4/$2; UWM Fine Arts Recital Hall, 8:30pm, $3 unless otherwise noted; Coffee­ u Apt Muscle 2400 E Kenwood; 229-4308 house; 631 N19th;744-FOLK six bi-monthly issues for $ 1 2 February 24-26 February 5-March 26 Classics AND receive a FRE E Music On KK Series Milwaukee Symphony Orchestra Joyce Parker Productions Zdenek Macal, conductor, selections by Weber, send check or money order to: °™*' ™ Fee 5 - Robert & Patric Moeling, Piano & Flute Grieg, Janacek; Th 7:30pm F 11 am Sa 8pm; art muscle magazine 1|J| W$ Feb 12 - Melissa Wardius, Pianist $13-$45; PAC: Uihlein Hall; 273-7206 p . o . box 9 3 2 1 9 m mm , 1^^ Feb 19 - Yvonne Huntley, Pianist m i I w a u k e e, wi 53203 additional protectors $1 eac Feb 26 - Linda Li, Pianist February 25 Mar 5 - John Otis, Slide Show on Churches ofParade of Harmony name the World, w/ Choral Accompaniment Milwaukee Festival City Chorus Mar 12 - Jerry Johnson, Pianist Performed by barbershop quartets; 8pm; $7- Mar 19 - BBO/s Dixieland Music $13; PAC: Uihlein Hall; 466-5139 Mar 26 - Joyce Parker Narrates Original Story, address. w/ Melissa Wardius, Composer February 26 Free; 3pm; 2685 S Kinnickinnic; 744-8866 Milwaukee Civic Concert Band 8pm; free; MATC, Cooley Auditorium, 700 W February 6 State; 483-3223 UWM Fine Arts Quartet city_ Music of Beethoven, Mendelssohn, Taneiev; February 27 3pm; $12; UWM Fine Arts Recital Hall, 2400 A Bounty of Brahms state- E Kenwood; 229-4308 Piano Chamber Concert Series 3pm; $12; UWM Fine Arts Recital Hall, 2400 zip _ February 6 E Kenwood; 229-4308 Chapman Piano Concert Waukesha Symphony Orchestra February 27 2pm; $10-$ 16; Carroll College, Shattuck Au­ A Choral Wmterlude ditorium, 100 N East Ave, Waukesha; 547- Bel Canto Chorus 1858 Selections by Perera, LaMontaine, Handel; 4pm; $ 18/$ 12; Renaissance Place, 1451 N Prospect; February 7 272-7950 Amadeus & Ohyama Milwaukee Chamber Orchestra March 1 All-Mozart concert; 7:30pm; $15; PAC: Vogel Trio Fontenay Hall; 744-8866 Piano, violin, cello ensemble; 8pm; $15-$30; Pabst Theater, 144 E Wells; 226-8777 February 7 & 8 A Slave No More March 3 Unity in the Community Choir Open Rehearsal Songs & dance of African-American heritage; Milwaukee Symphony Orchestra y. rioti 9:30am & 1pm; $5/$3; PAC: Uihlein Hall; 7:30pm; $3; PAC: Uihlein Hall; 273-7206 273-7206 March 4& 5 Cocktails • Alternative Music February 8 Milwaukee Symphony Orchestra Schumann's Song & Symphony Zdenek Macal, conductor The Milwaukee Poetry Slam Classical Conversations Verdi's Requiem with Milwaukee Symphony Milwaukee Symphony Orchestra Chorus; F 7:30pm Sa 8pm; $13-$45; PAC: every 2nd and 4th Wednesday Neal Gittleman, Conductor/Host; 7:30pm; $8- Uihlein Hall; 273-7206 $19; PAC: Uihlein Hall; 273-7206 of the month at 8:30pm March 5 February 11 UWM University Band/ University Choir 706 E. Lyon Street • 347-9972 Charlie Haden w/ Lawrence University Jazz 8pm; $6/$3; St Robert's Church, Shorewood; Ensemble; jazz bassist; 8pm; $10-$ 15; Law­ 229-4308 rence University, Memorial Chapel, Appleton; 832-6585 March 5 The New York Consort of Viols HECTOR'S February 11-13 Early Music Now Lunch • Dinner Classics German Renaissance & early Baroque music; Milwaukee Symphony Orchestra auction & chocolate reception 3pm, concert Neil Gittleman, conductor, selections by Bach, 5pm; $17/$15; All Saints' Cathedral, 818 E WHERE Adams, Sibelius; F Su 7:30pm Sa 8pm; $13- Juneau; 225-3113 Specializing in custom framing, $45; PAC: Uihlein Hall; 273-7206 March 6 CREATIVITY museum archival framing, February 12 Fine Arts Quartet Valentine's Day Concert & Celebration Music of Haydn, Beethoven, Taveiev; 3pm; AND Present Music $12; UWM Fine Arts Recital Hall, 2400 E needlepoint framing and custom Love-themed works by Michael Torke, John Kenwood; 229-4308 QUALITY Harbison, Michael Dougherty & woHd pre­ sized mirrors. Posters, paintings, Contemporary Jazz by Sidestreet miere by Sigmund Snopek; champagne buffet March 6 OO Thursdays 9:30—Midnight 5:30pm, concert 8pm; $6-$17, buffet $20; UWM Symphony Band & Milwaukee Youth Nagels, limited editions, wildlife Milwaukee Art Museum; 271 -0711 Wind Ensemble; 7:30pm; $6/$3; St Robert's HAND Come Experience Lunch In Church, Shorewood; 229-4308 and originals. All work done on February 12 Mexico For Under $5.00! UWM High School Honors Orchestra FestivalMarc h 7 IN promises by professionals. Sunday Brunch Is Back! With guest conductor Harvey Felder; 7:30pm; In Memory of Yolanda Marculescu $7.50; Pabst Theater, 144 E Wells; 224-4308 Woodwind Arts Quintet HAND Music of Dragansky & Schaffer; 8pm; $6/$3; Point Mequon 10972 N. Port 7118 West State Street February 13 UWM Fine Arts Recital Hall, 2400 E Kenwood; n Washington Rd Wauwatosa, WI 53213 Organ & Handbell Recital 229-4308 1320 241-5008 414-258-5600 Dr John Behnke, organist w/ Concordia Uni­ HOURS: M-F, 10-5:30; SAT. 10-4. versity Alleluia Ringers; 3pm; $7/$4; Cathe­ March 10 dral of St John the Evangelist, 812 N Jackson; Air Craft 224-0250 UWM Institute of Chamber Music Woodwind Quintet; 8pm; $4/$2; UWM Fine Arts Recital February 13 Hall, 2400 E Kenwood; 229-4308 Laura Medendorpo, Soprano ®IttfeKBA Civic Music Association March 11-13 2:30pm; free; Villa Terrace, 2220 N Terrace; Pops ^^^ JS. N S E 1VI BLE 483-3223 Milwaukee Symphony Orchestra Doc Severinsen, trumpeter & guest conductor; presents... February 15 F Sa 8pm Su 7:30pm; $14-$47; PAC: Uihlein / Fiamminghi Hall; 273-7206 ;As You Lilce Jt 12-member Belgian string ensemble; 8pm; $ 15- by William Shakespeare $30; Pabst Theater, 144 E Wells; 226-8777 March 12 Friday, February 25 & Gerry Mulligan Quartet Saturday, February 26 February 18 & 19 Jazz saxophonist, arranger, composer; 8pm; 7 & 1 Opm Louis Alemayehu & Ancestor Energy $15-$30; Pabst Theater, 144 E Wells; 276- at Walker's Point Center for the Arts 8777 African American improvisational music; 8pm; $6/$3; 911 W National; 672-2787 March 13 UWM Vocal Arts Series 249 N. WATER ST.-272-2470 February 19 Jeffry Peterson, piano, Maria Hansen, guest -SPRING BREAK SPECIALS- 81 8 E. Center Street Racine Symphony Orchestra soprano; 3pm; $6/$4; UWM Fine Arts Recital TROPICAL SPORT COATS • SHORTS 7pm; $12/$ 10; Festival Hall, Racine; 636- Hall, 2400 E Kenwood; 229-4308 ALL TICKETS $5 9285 JEANS • HAWAIIAN SHIRTS • ETC. AT THE DOOR March 13 Reservations & February 20 Fete Galante BRING AD IN FOR EXTRA Information Allan Historical Keyboard Society h OFF OUR 1/2 OFF PRICES 289-9380 Irish traditional group in benefit; 7pm; $13/ John Gibbons, harpsichorist; 7pm; $15; All $11; Centennial Hall, 733 N 8th; 372-3060 Saints Cathedral, 818 E Juneau; 258-8490 25 March 13 Now-February 13 Community Chorale for Christ Foxfire 24-voice choir from area churches; 3pm; free; Cooper & Cronyn Milwaukee Art Museum; 224-3200 Waukesha Civic Theatre Appalachian woman struggles to keep her March 13 land; F Sa 8:15pm Su 2 & 7:30pm; $8.50/ Conroy Fritz, Piano $7.50; 506 N Washington; 547-0708 Civic Music Association; 2:30pm; free; Villa Terrace, 2220 N Terrace; 483-3223 Now-February 20 love's Labour's Lost 8s \ 1 March 14 William Shakespeare Hallelujah Handel Milwaukee Repertory Theatre Milwaukee Chamber Orchestra Battle of sexes & wits between Princess, her < Handel' Israel in Egypt; 7:30pm; $15; PAC: Ladies & King & his Lords; T 7:30pm W1:30 & 3flic Vogel Hall; 744-8866 7:30pm Th F 8pm Sa 5 & 9pm Su 2 : 7:30pm; THE GANG OF 40: $10-$21; Powerhouse Theatre, 108 E Wells; March 15 224-9490 An Evening With Amadeus D EL: M Waukesha Symphony Orchestra February 3 :^:^:^:^::^;^:^:^:^"•:•:^:^:^:^•^:^:^:^:^^•^:^•^:^:^:^•^' E2) /S\ rra 8pm; $10-$ 16; Carroll College, Shattuck Au­ The Real Live Brady Bunch ditorium, 100 N East Ave, Waukesha; 547- Performance of actual script of TV sitcom; 8pm; Gallery 218 1858 $17.50-$24.50; PAC: Uihlein Hall; 273-7206 QaQ&etiy March 18 & 20 February 3-12 Showcase for Young Talent The Effect of Gamma Rays on Man-ln-the- Concord Chamber Orchestra Moon Marigolds Fri 8pm, St Matthew's Lutheran Church, 1615 Paul Zindel Wauwatosa Ave; Sun 3pm, First United Carroll Players; Th 7pm F Sa 8pm; $5; Carroll Methodist Church, 121 Wisconsin Ave, Wau­ 217" N. Broadway st. College, Otteson Theatre, 100 N East Ave, Milwaukee WI 53202 kesha; $8/$6; 278-8572 Waukesha; 524-7301 41 4 - 273 - T73T7 TUES. thru SAT. March 18-20 February 4-20 1 O am to 5 pm Lucia di Lammermoor Tour de Romance Gaetano Donizetti Theatre on KK Florentine Opera Valentine tour around the world; F Sa 8pm Su Secret lovers fall to tragedy; F Sa 8pm Su 2:30pm; $8/$7; 2685 S Kinnickinnic; 744- 2:30pm; $16-$75; PAC: Uihlein Hall; 273- 8866 7206 February 4-25 March 19 Mary Shelle/s Frankenstein Guitar Summit Nick DiMartino 8pm; $1 2-$27; Pabst Theater, 144 E Wells; First Stage Milwaukee m 286-3663 Scientist creates the infamous monster; Sa 7pm T i e • • i i ' l !' " Su 1 & 3pm; $6-$l 1; PAC: Todd Wehr The­ March 22 atre; 273-7206 Elly Ameling, Soprano Lieder & caberet repertoire; 8pm; $15-$30; February 4-26 Pabst Theater, 144 E Wells; 226-8777 Jinx: A One Woman Tour de Force RICHARD WASWO The Mode Theatre New paintings—Australia/USA March 24-27 F Sa 8pm; $10; 121 S Monroe St, Waterloo; Pops 800-280-9632 Milwaukee Symphony Orchestra MARK WIRIER Harvey Felder, conductor, with Manhattan February 4-27 Sculpture Rhythm Kings; Th 2pm F Sa 8pm Su 7:30pm; Bode-Wad-Mi: Keepers of the Fire January 21—March 10 $14-$47; PAC: Uihlein Hall; 273-7206 John Schneider & John Kishline Theatre X 1209 EAST BRADY STREET March 25 Multi-media history & current issues of Pota- HOURS: The Chieftains watomi Nation; W Th 7:30pm F 8pm Sa 5 & M-F: 10-6, SAT: 10-5 8pm; $12-$30; Pabst Theater, 144 E Wells; 8pm Su 2pm; $16/$ 14; Broadway Theatre TELEPHONE: 277-8228 286-3663 Center, Studio Theatre, 158 N Broadway; 278- 0555 March 26 & 27 NTERIOR DESIGN The Little Mermaid February 9-March 6 G R A V A Great Lakes Opera Company Shadowlands Based on Hans Christian Anderson tale; 1 & William Nicholson GALLERY 3pm; $7/$5; PAC: Vogel Hall; 962-9500 Acacia Theatre GRAPHICS • POSTERS • FRAMING Love story of author C S Lewis & American poet March 27 Joy Davidman; W-Sa 8pm Su 3pm; $8-$l 2.50; AT«ZfcjU UWM Chamber Orchestra 3300 N Sherman Blvd; 223-4996 ___ Margery Deutsch, conductor, Michael Nico- LINCOLN ART POTTERY imUAtfri/?—it : z~ lella, guitar; 3pm; $7.50/$4; UWM Fine Arts February 11 -27 Recital Hall, 2400 E Kenwood; 229-4308 Going Back jSSir"" --- Dick Tate >&^5*^ T~- — March 28 . The Right Street Theatre ^^^^^^^^ Sp% Sunday Serenades at the Domes: Pro MusicaCoupl e cares for recently widowed mother; F 1 pm; free Mitchell Park Domes, 524 S Layton; Sa 8pm Su 2pm; $3/door; 901 E Wright St; 961 S. PARK MMr- 483-3223 265-8283 MADISON. WI $^&£* 608.251.5255 llf//^ March 29 February 13-March 20 IS Classical Conversations The Last Ride of the Bold Calhouns Milwaukee Symphony Orchestra Edward Morgan Norman Krieger, pianist, Liszfs Romantic Su­ Milwaukee Repertory Theatre perstar performed; 7:30pm; $8-$19; Pabst Musical saga of the Old West; W Su 7:30pm F Theater, 144 E Wells; 278-3663 8pm Sa 5 & 9pm; $9/$l 2; Stackner Cabaret, 108 E Wells; 224-9490 A new kind of DRAWING CLASS February 17-27 Combining basic drawing with Tartuffe self acceptance. YOU CAN DRAW! February 2 & March 2 Moliere Mao* Hatter Performance Series Marquette University Theatre Heather Williams, HWM, Instructor Joseph Rabensdorf of Foothold Dance Collec­ Classic French comedy of religious fanaticism; Call for free flyer: 781-8648 tive & guests present performance art, poetry, Th F 8pm Sa 5 & 9pm Su 2:30pm; $10/$9; dance & music; 7pm; donation appreciated; Marquette University, Helfaer Theatre, 13th & Lincoln Center for the Arts, 820 E Knapp Rm Clybourn; 288-7504 110,276-2243 Preserve for generations... KATHLEEN SCHALLOCK

March 11 & 12 Will be holding classes & workshops held / Can See Right Through You February 18-March 5 2nd Mat Free at her Third Ward studio on the riverin.. . W E Performance Group Pajama Game with any • Artist Books/ Multi-media piece, with Debbie Davis' Sand Brookfield Players Dollar in My Stomach; 8pm; $6/$3; Walker's Early days of organized labor in New York Museum Quality Hand Made Book Binding Point Center for the Arts, 911 W National; City; 8pm; $7/$5; Brookfield Central High • Assemblage/Collage 672-2787 School Little Theatre, 16900 W Gebhardt Rd, Custom Framing • Family History—Photo Montage Brookfield; 821-5767 prints • paintings • photos • needle-art • Pastel Landscape & Still Life February 18-March 13 Tifie Mandrake \ Gallery of fine art • Figure Drawing Now-February 13 Niccolo Machiavelli Ain't Misbehavin' Boulevard Ensemble \ by area artists. • Typography Thomas "Fats" Waller Comedy of lust & intrigue; Th-Su 8pm;$l 0/$9; • Lithography Skylight Opera Theatre 2252 S Kinnickinnic; 672-6019 Nightclubsceneof 1930s Harlem; WTh 7:30pm • Monoprint F Sa 8pm Su 2 & 7:30pm Feb 5 2pm; $ 16-$37; call for a listing: Broadway Theatre Center, 158 N Broadway; *#. SOUTH SHORE GALLERY & FRAMING 291-7800 2627 South Kinnickinnic Avenue • (414)481-1820 224-8774 26 Art Muscle February 19-March 6 Death & the Maiden Ariel Dorfman Milwaukee Chamber Theatre Suspenseful political thriller; W Th 7:30pm F 8pm Sa 4 & 8pm Su 2 & 7pm; $18-$24; Broadway Theatre Center, Main Stage, 158 N Broadway; 276-8842 'iicai February 19-March 13 A View From the Bridge Arthur Miller UWM Professional Theatre Training Program Italian longshoreman in Brooklyn consumed by ./(istoric, Victorian house in revenge; Feb 17,23 Mar 1,3, 9 7:30pm; Feb 18,19 Mar 5, 11 8pm; Feb 26, 27, 2:30pm Walkers Point for sale or rent, In rotation with f\ot6jt& May 1st. Call 672-5666. Desire Under the Elms Eugene O'Neill Lust, seduction & greed lead to tragedy in New England countryside; Feb 24 Mar 2, 6, 8 SALON & GALLERY 7:30pm; Feb 25,26 Mar4,12 8pm; Mar 5,6, A collection of artists 13 2:30pm; $14/$12; UWM Studio Theatre, presenting... OPPORTUNITIES 2400 E Kenwood Blvd 229-4308 Jason Carter Design February 23-March 6 "Love it & Touch it" omMnY Rags Joseph Stein catering & deli Jewish Community Center Theater Company Call 962-9889 for an appt. " ARTISTS CALL' 414 •769* 7495 Exploration of immigrants' trials & success; W 4208 North Oakland Ave. 7:30pm Sa 8pm Su 2pm Mar 6 2 & 7pm; $8/ 2504 E. OKLAHOMA AVE. $6; 6255 N Santa Monica Blvd; 964-4444 Shorewood, WI 53211 ;;; ,::::::::|P --' PAJNlpERS ,.,,#• Mention this ad for a complimentary : espresso or cappuccino February 24-March 13 ':•: PR I NTfolAKER il|^ The Firebugs Max Frisch reffrfft^

March 3-11 Alexander and Radmila Radicevich's Charlotte's Web Based on E B White's novel The Great American Children's Theatre Com­ CUSTOM FRAMING Sales Rep m pany; Wilbur the pig & Charlotte the spider; AT AFFORDABLE PRICES weekdays 10am & 12:15pm Mar 5 1 & 3pm Mar 6 1 & 5pm Mar 11 7pm; $5-$l 2; Pabst 1668 N.Warren Ave. M-W-F 10-6 Art Muscle Magazine has tow Theater, 144 E Wells; 276-4230 (Off Brady & Farwell) T-Th 12-7 Established 1971 Milwaukee, WI 53202 Sat 12-4 positions available for sales SERBIAN March 4-13 GOURMET Jabberwock reps within Metro Milwaukee HOUSE Jerome Lawrence & Robert E Lee Village Playhouse of Wauwatosa and the surrounding suburban "A Delightful Experience" for lunch or dinner The nutty family of James Thurber; F Sa 8pm Su 2:30pm; %6/%5; 9508 Watertown Plank Rd; area. Must be a self-motivated Selected wines, liquors, and homemade desserts 744-8916 individual with media sales Strolling string music March 4-30 Party rooms available PRIVATE MINI STUDIO experience. Automobile necessary. Gift certificates Bambi: A Life in the Woods Credit cards accepted Felix Salten a mon 1 Ensemble uses masks & movement to portray Send resume to: Art Muscle Magazine 522 W. Lincoln Ave forest animals; Sa Su 1 & 3pm; $6-$l 1; PAC: •OO *' P.O. Box 93219, Milwaukee, WI 53203 (414) 672-0206 Todd Wehr Theatre; 273-7206

Cftatet at the Oliver March 9-27 823 N. 2nd Judevine Artists, hobbiest, art crafters-use David Budbill your quiet retreat whenever you Art Muscle Classi fieds: S20 an inch American Inside Theatre wish. A place where you can Beauty of life in depressed rural Vermont town; work and show your products. next issue: april/may • deadlii e: march 10th • 414-672-8485 Th 7:30pm F & Sa 8pm Su 2pm; $17/$ 14; 277-9898 Carroll College, Otteson Theatre, 100 N East St; 968-4770 27 OUT THERE

:Some curious parallels between his own life and Shakespeare's comedy Love's Labours Lost prompted Milwaukee Repertory Theater's new artistic director Joseph Hanreddy to explore the play with the Rep company. "I was getting married last spring and was thinking about words in relation to emotions, " he says. "And I found embarking on a new job was comparable to one of the character's abdication of public life for a contemplative life." Hanreddy's recent move ART EXHIBITIONS Wisconsin Union Galleries from the Madison Rep is, of course, fully opposite of the King of Navarre's lifestyle change. Now- February 28 Ill's monarch and his Lords have vowed a life of celibacy and scholarship for three yeares, but Elvehjem Museum of Art Contact: Photojournalism Since Vietnam their ascetic plans are disrupted when the Princess and her Ladies arrive and the court Now-March 20 UW-Madison: Union Galleries; 608/262-5969 members start falling in love. Hanreddy, who was eager to develop a classical ensemble piece Heritage of the Brush: The Papp Collection of with challenging language, and his design team have set LLL in the late 19th century, the fruitful Chinese Paintings; Ming & Qing dynasties DANCE period of Impressionist artists and musicians. "These painters and performers inform the ideas February 5-March 13 of the play," he says. "But we will want to emphasize character, theme, and idea above Archie Lieberman: Close to the Land Wisconsin Union Theater spectacle." Love's Labours Lost continues on the Rep's Powerhouse stage through February 20. Renowned photojoumalist February 26 March 1 9-May 1 Merce Cunningham Dance Company WinslowHomer: Wood Engravings 1857-1888 8pm; $16-$20; 800 Langdon; 608/262-2201 March 11-27 UW-Madison, 800 University; 608/263-8188 Imaginary Invalid MUSIC Moliere Mondays Gallery 323 Waukesha Civic Theatre Guitar Nuts Now- February 28 Wisconsin Union Theater Hypochondriac tries to marry off his daughter; For guitarists &fans; Channel 14; 9pm; Warner Roberta Masur-Maxfield, Wall Sculpture, February 5 - Moscow Virtuosi F Sa 8:15pm Su 2 & 7:30pm; $8.50/$7.50; Cablel 4 & Viacom 11B; 353-5052 Jewelry, Silver, 323 E Wilson; 608/255-8998 February 16 - Trio Fontenay 506 N Washington; 547-0708 February 27 - Milwaukee Symphony Orches­ Mondays & Fridays Madison Art Center tra; 2pm; 8pm unless otherwise noted; $16- March 11-27 Joy Farm; Award-winning social satire series February 19-May 1 $20; 800 Langdon; 608/262-2201 Festival of Irish One-Act Plays M 9:30pm, Warner Channel 14; F 9:30, Deborah Butterfield Sculpture 1980-1992 Theatre on KK Warner Channel 47 211 State; 608/257-0158 THEATER F Sa 8pm Su 2:30pm; $8/$7; 2685 S Kinnick­ innic; 744-8866 Wednesdays Wisconsin Academy Gallery Madison Repertory Theater Milwaukee Ballet Radio Hour February 4-28 March 11 -April 3 March 12-27 7pm; WFMR 98.3 FM Mixed Visions; Mike Brylski, new work Dancing at Lughnasa - Brian Friel The Bridge at Mo Due March 4-31 Man's memories of childhood in Ireland; WTh Wayne Frank Mondays, Wednesdays, Fridays & Saturdays Randall Berndt, Mixed Media Painting; 1 922 Su 7:30pm F 8pm Sa 5 & 8:30pm Mar 13 2pm; Milwaukee Chamber Theatre Where the Waters Meet University; 608/263-1692 $18.50/$ 15; 211 State; 608-256-0029 Drama of soldiers trapped in Vietnam; W Th Christina Zawad'rwsky 7:30pm F 8pm Sa 4 & 8pm Su 2 & 7pm; $18- F 7pm M,W 2pm, Warner Cable 14 &Viacom $24; Broadway Theatre Center, Studio The­ 11B, repeated M &W 2pm; Sa 7pm City atre, 158 N Broadway; 276-8842 Government Channel 26

March 16-Apri! 3 Saturdays Semele Down Home Dairyland George Frederick Handel 8pm; Wisconsin Public Radio, WHAD 90.7 FM Skylight Opera Theatre Romantic farce drawn from Greek mythology; Sundays W Th 7:30pm F Sa 8pm Su 2 & 7:30pm Feb 5 Alternating Currents in 20th Century Music 2pm; $16-$37; Broadway Theatre Center, 158 DJ Hal Rammel; 6:30pm; WMSE 91.7 FM ART EXHIBITIONS N Broadway; 291-7800 Contemporary Art Workshop American Spirit Folk Art Gallery Now-February 22 - Human Promenade: Peggy March 18-27 Now-March 26 Robinson & Marc Connor, Paintings Nunsense II Folk Pottery from Georgia February 25-March 29 - Carol Dolan, Paint­ Shorewood Players 1720 N Sedgewick; 312/337-2349 ings & Barbara Kulak, Relief Sculpture F Sa 8pm Su 2pm; $7/$6; Shorewood Audito­ 542 W Grant; 31 2/472-4004 rium, 1701 E Capitol; 332-6944 An Art Place, Inc February 25-March 18 Ehiers Caudill Gallery Ltd Personal Visions II February 4-March 29 - Joseph Beuys: Photo­ 847 W Jackson Blvd, 10th fir; 312/455-0407 graphic Documents 750 N Orleans; 312/642-8611 ARC Gallery February 4-26 Eva Cohon Gallery Nancy Gargiulo, Photo Sculptures Now-February 8 - Figurative Paintings by Chi­ March 1 -26 cago & Regional Artists National Juried Print Exhibit February 11 -March 23 - Eric Johnson, Wall 1 040 W Huron; 312/733-2787 Sculpture March 25-April 20 - Carl Embrey, Rural Aron Packer Gallery Landscape Paintings Now-February 1 2 301 W Superior; 31 2/664-3669 Dynamic Rhythms/Color Harmonies: Steven Leavitt; 1579 N Milwaukee; 312/862-5040 Excalibur Now-April 10 - Montage, Group Exhibition Art Institute of Chicago 632 N Dearborn; 312/633-0706 Now-February 27 - Focus on Fiber Art: Selec­ tions from the Growing 20th Century Collection Gallery 451 Now-May 1 - Violent Passions: Edvard Munch Now-February 25 - Kristy Deetz, Paintings; & Alban Berg Robert McCauley, Sculpture Now-May 15 - Max Klinger's A Glove: Tradi­ March 18-April 29 - Group Show: Pottery, tion, Fashion & Fantasy Furniture, Glass & Textiles Now-May 15 - Graphic Tours: Travel & 19th 510 E State Street, Rockford; 815/961 -1717 Century French Works on Paper Now-July 24 - Recent Acquisitions: 20th Cen­ Gallery Ten tury Works on Paper, Permanent Collection Now-February 25 - The Gang of Four - Ev­ February 17-May 1 - Daniel Libeskind & The eryone Remain Calm: Sally Jensen, Rebecca Jewish Museum in Berlin Silberman, Ramona Felse & Janie Hastings February 1 9-April 24 - Thinking is Form: The 514 E State, Rockford; 815/964-1 743 Drawings ofJospeh Beuys March 30-July 17 - Selected Textile Acquisi­ Gallery 954 tions; Michigan at Adams; 312/443-3626 Now-February 16 - Photogram '94 February 18-March 23 - PaulBerger&Martina Artemisia Gallery Lopez February 1 -26 - Gallery Artists: Hamburger, 954 W Washington; 312/563-0305 Fisher, Spivey, Kelly, Kingsbury March 1 -26 - Gallery Artists: Poncher & Elliot, Gruen Galleries Carlborg, Tracy, Thornton, Ross February 4-March 28 700 N Carpenter; 31 2/226-7323 Gina Lutherland, Paintings; Michael Yankowski, Sculpture Block Gallery 226 W Superior; 312/337-6262 Now-March 20 - Stark Impressions: Graphic Production in Germany 1918-1933 Illinois Art Gallery 1967 Sheridan Rd, Northwestern U; 708/ Now-March 1 8 - Poetic Visions: Photographs 491-4000 of Joseph DJachna; The New Bauhaus/School of Design in Chicago/Photographs 1937-44 Catherine Edelman Gallery The New Woman in Chicago 1910-45 February 11 -March 1 9 - Jeffrey Wolin: Por­ 100 W Randolph; 312/814-5322 traits of the Holocaust March 25-April 23 - Dick Arentz, Platinum/ Jean Albano Gallery Palladium Photographs February 11 -March 19 300 W Superior; 312/266-2350 Ann Rogula, Paintings 311 W Superior; 312/440-0770 Chicago Atheneum Now- February 19 - Autochthonous Architec­ Klein Art Work ture in Tyrol February 12-March 12 - Charles Arnoldi, New Now- February 24 - V7enna: State of the Art Paintings 1165 N Clark; 312/280-0131 400 N Morgan; 31 2/243-0400 28 Art Muscle by C.A.R. (Conceptual Arts Research)

Lay Away Visual Arts "Uncomfortable times breed Uncomfort­ NS— There's a strong discontentment in CA.R.— What expectations does Uncom­ February 1 2-March 8 - Valentines Slit Show - able Spaces" is the slogan four Chicago the Chicago art community and rather fortable Spaces hold? Women Only galleries rally around. Distancing them­ than complaining about it, we all wanted March 1 2-April 26 - No, No - Conceptual Art selves from the polished, high rent gal­ to respond by starting spaces. JL— I'm doggedly optimistic about what by Chicago Artists 1947 W North Ave; 312/772-8059 lery district known as Chicago's River is happening with us. North, the Uncomfortable Spaces pro­ RK— I didn't like the work I saw out Marx Gallery vide viewers with an alternative art appa­ there. There is important and urgent work RK— I have very low expectations about February 11 -March 1 2 - Ken Carder, Glass ratus, which, unlike the commercial gal­ that needs to be shown and some of the sales. 1 don't expect that people will come 230 W Superior; 312/661 -0657 leries and nonprofit art organizations, do most exciting work isn't going to find a in to clear off my walls. That was never not rely on sales and grants for financial home in a commercial gallery. the goal in the first place. When work Museum of Contemporary Art structure. This results in exhibitions that does sell, it is a pleasant surprise, but it is February 5-April 17- Radical Scavenger(s): The are free from the expectations of the Conceptual Vernacular in Recent American Joel Lieb— The satisfaction comes from not an expectation. I think the kind of Art; 8 contemporary American artists; 237 E market, allowingToiigh, MWMWM Gal­ helping a lot of artists, meeting many en­ work I show precludes that. Ontario; 31 2/280-5161 lery, Ten in One Gallery, and Beret thusiastic people and establishing some- International Gallery to take chances thingnew in the community that we hope CA.R.— How has the public responded MWMWM with work not seen in other locations. will stick around. to your shows? Now-February 12 - Michelle Grabner, Ben Uncomfortable Spaces have proven to be Pranger, Arturo Herrera, BradKillam, Barbara a vehicle for artists investigating new forms Wiesen, others CAM.— Because you operate outside of CM— I get people who walk into my 1255 S Wabash 5th fl; 31 2/786-0782 of performance, installation and object the mainstream, do you consider Un­ gallery and walk right back out. But that oriented work, and the Chicago art com­ comfortable Spaces to be alternative and is because they have preconceived ex­ N.A.M.E Gallery munity is paying close attention. The capricious? pectations of what work should be. I get February 25-April 1 - Photographic following is an informal discussion with some of my best responses from people 700 N Carpenter; 312/226-0671 the directors of Chicago's Uncomfortable NS— We use the term "alternative" for unfamiliar with the art circuit. Spaces: Oskar Friedl Gallery lack of a better word, but we're not alter­ Now-February 19 - Print Portfolios & Multiples native, and we're not commercial. RK— Certainly what we are not trying to February 11 -March 10 - Installations & Works Chris Murray— MWMWM Gallery, 1255 do is get bodies in the door. Our gallery is in Mixed Media; Tim Anderson S. Wabash, 5th Floor JL— We're hybrid galleries. I show ex­ not about a number count. March 11-April 21 - Daniel Christmas, Life Ned Schwartz— Beret International perimental art; it's alternative. If I sell it, Drawings Gallery, 2211 N. Elston it's not. CM—At leastfor me, and I can't speak for 750 N Orleans, suite 302; 312/337-2466 Richard Kelly-— Tough, 415 N. Sanga­ the group here, I don't have a romantic Perimeter Gallery mon Chris Murray— We select the artists, not view of art. And I think that when people Now-February 19 - The Ritual Vessel Group Joel Lieb—Ten in One Gallery, 1510 W. the art. We give them a great amount of come to the gallery and are not happy Show Ohio control in deciding what's shown. with what they see, they are very roman­ February 25-March 25 - Richard Shaw, Ce­ tic about art. ramics; Jon Friedman, Paintings Conceptual Art Research— How are you CA .R.— Why are you uncomfortable/' 750 N Orleans; 312/266-9473 received by your counterparts? The com­ JL— I would argue the notion that just mercial sector? Do you perceive any ani­ Peter Miller Gallery NS— The name Uncomfortable Spaces because a work is experimental, it is Now-February 1 2 - Holiday in the Sun: Michael mosity? came out of a lot of discussion. Most inaccessible. Ashkin galleries that open up outside of River February 1 8-March 16 - Souvenirs: Nina Levy, Richard Kelly— It has been an interesting North call themselves alternative. I call CA.R.— Is the idea of Uncomfortable Sculpture year. I have had a lot of gallery owners them emulative. They emulate what they Spaces urgent enough to exist in other 410 W Superior; 31 2/951 -0252 come through my space. The commer­ see in downtown spaces, but they can't cities? cial galleries are taking notice. 1 don't afford downtown rent. We wanted to be Printworks know if they are feeling threatened, and February 11 -March 19 - Carole Hammel: New disassociated with those emulative gal­ CM—We are not an institution. Basically, Sequential Photographs I don't know if they should. leries and create our own identity. we are four people who work other jobs March 25-April 23 - Alistair Crawford: New to pay for something we believe in. We Drawings Ned Schwartz— We don't have a lot of CM— We fit the '90s well because the art are doing what artists are doing. Nobody 311 W Superior, Suite 105; 312/664-9407 concern with the commercial galleries market seems to have died, but artists are pays artists to work in their studios. No­ because their focus is so different from still making work. If anything, artists are body pays us to have galleries. Rockford Art Museum ours. We also don't put much time into less inhibited by the market than they Now-March 7 - Emerging Chicago Abstraction Neil Goodman: Selected Works courting collectors. We put all our energy used to be. Here, artists can say, "I can Conceptual Arts Research is Michelle Now-March 20 - Constructive Deconstruction: into the shows. If anybody should feel in take chances because no one will buy it Grabner and Brad Killam The Politics of Contemporary Collage competition with us, it is the nonprofits. anyway." Views of the Collection: 1 9th Century Land­ We are often competing over the same scapes & Portraits press coverage, format and artists. CA.R.— Why is there a need on your part When in Chicago, see the recent 711 N Main, Rockford; 815/968-ARTS to be a collective, to have a single identity? work by Michele Stutts which ex­ RK— My philosophy in running the gal­ Sazama Gallery plores the plight of the homeless in Now-February 12 - Susan Wexler, Paintings lery has been to concentrate on the work, RK— it operates on two levels. There is Chicago. It will be onexhibitat A.R.C. 300 W Superior; 312/951 -0004 not the saleable aspect of the work, but Uncomfortable Spaces, and there are four Gallery, 1040 W. Huron St., from the quality of the work. And once you very different individual galleries. March 1 - 26. The mixed media work School of the Art Institute of Chicago have the quality then the critics will come reveals a sensitivity to human suffer­ February 11 -March 30 - Camera Obscura/ in and, then, in theory, the collectors. CM— Uncomfortable Spaces is also a ing when the basic necessities of life Obscura Camera vehicle tohelpus offset promotional costs. are denied. All proceeds from the 1040 W Huron; 312/226-1449 CA.R.— So, where is the payback for We mature together by talking to each sale of any artwork in the exhibit Ten in One Gallery you? You 're footing the bill for these other about what we give our artists, will be donated to the Coalition for Now-March 19 - Hiroko Saito & John Spear, spaces.. .you see very few sales... what are what we don't, how we make our deals the Homeless in Chicago. Drawings & Paintings you investing in? and soon. 1510 W Ohio; 312/850-4610

Tough Now-February 26 - Post Haste Group Show 415 N Sangamon St; 312/733-7881

Winnetka Antiques Show March 4-6 F 10am-9pm Sa 10am-6pm Su noon-5pm; $8; Winnetka Community House, 620 Lincoln Ave; 708/446-0537

Wood Street Gallery Now-February 26 The Road Between Three Houses: 3 Women Artists March 5-April 2 Local Heroes: Five Chicago Artists 1239 N Wood St; 312/227-3306 o

29 RAVING RDER an essay by Nathan Guequierre

I had the fortunate occasion, just before the turn of the new year, to see It's difficult to look at the whole entropic universe without feeling over­ the painting Milwaukee artist Fred Stonehouse made for a famous vodka whelmed and hopeless, so we deal with our most immediate surroundings company's advertising campaign. In an effort to woo arty hipsters and first, like straightening up a house one room at a time. It follows that if an hangers-on and the dilettantes and everyone who might harbor a covert, artist is forcing the parts of herself into patterns, then the system she creates even unrecognized, desire to be associated with that crowd, the distiller in the art-making process can only be a personal one and that the notations conimissions well- and not-so-well-known artists to create original works ofthatprocess—theartwork—areapplicableonlytoherin their specificsand incorporating an image of a bottle of the company'spioduct. Apparently, their specific arrangement. the campaign works, at least to some degree, because I find myself gravitating toward the brand when at the liquor store and in the mood for Now comes the good part, the implications of a gimlet—for no reason I can discern except that the ads are pretty cool. this line of reasoning on how we view art, and what art made by others can mean to us. The Seeing Stonehouse's painting, with his typical deep-retro technique and consequences are manifold, a tiny challenge to quirky imagery, with a bottle of Product floating incongruously above a apopular conception ofthenatureandmeaning typical Stonehouse scene, reminded me of an essay on these pages some of art: that art is communication, an "expres­ "Art that months ago which postulated that in its essence, art is communication. sion" that others can read. As tar as art goes, Now, Stonehouse's painting communicates a tricky and subtly layered communication is beside the point. Or maybe message indeed, one that twists around several of the seven deadly sins— I should say: it's a residue of the real impulse and Envy and Covetousness come to mind—but it blurs the blurry line process. If art is about quibbling with one's self, between advertising and art to such a degree that the line is no more: the then artworks that set out to prove a point, get sets out to twain meet. It uses some of art's tools, but I have a diflicult time calling an idea across, say something, are jqune indeed. it art. This is not to disparage the painting: it's a nice Stonehouse. Almost. If the system is dictated before the work is made, (And I have no idea how the artist feels about it, not that it really matters.) before the argument takes place, then, in effect, But I can't say more than that it plays its role well. no art is happening. Even goodorsubtle art that intendsxo make a political or social statement is communicate It is important to recognize that the impulse behind art and the making unable to move a viewer in anyway beyond the of art are very different things. First, to quote Richard Powers: "Medullar intellectual becauseithasgiven up theprocessat terror at returning to randomness is behind every urge to pattern the the outset. Stonehouse's vodka ad. We can world. Hardwired to fear is the breeding scream." We make art for the appreciate the message and the medium, but we same reason we undertake any human endeavor: to impose a system on can'tfind our own place in it because there is no should be whatis essentially chaos. Religion, taxonomy, the invisible hand, Lascaux, place, only the conscious message. Art that sets the simile, Mark Tansey, G. G. Allin, sex. For some reason, humanity is out to communicate should be labeled what it uncomfortable with integral tangle and disorder: to merely be spinning is: advertising or propaganda. If a message is in a darkened ellipse is too scary to handle over the long term. Order, in coming across explicitly, then they're probably one form or other, is whatwe crave. The imposition ofarrangementallows trying to sell me something, an idea, a sofa. This labeled ustodefineourownrolemmeumverse,andwemustti is not to saythat art can'thappen in propaganda of order for ourselves or buy into the existing systems. So we lay patterns and advertising; sometimes it happens despite over our lives, go to work every morning by the same route, eat lunch intentions. In feet, that is what makes the best sometime between 11:30 and two o'clock, always shop at our favorite propaganda and advertising effective: the sys­ what it is: book store, order the same thing each time we're in a Mexican restaurant. tem resonates, although that effect is limited to appreciation by the brain. Art, too, is a little thing like these. A little thing we make to pattern our own tiny eddy, alitfJesystem the artist makesup herself. But, the difference Taken to its extreme, of course, the idea that art between art and,say,politicsorthe ways we understandthelawsofphysics, can only be personal would make concerts, is that art is entirely personal. The system the artist creates, the order she novels and galleries worthless places to exhibit imposes on the essentially random nature of the world is applicable—in the banal diaries of others. (One romantic its details—only to herself. In this respect art is very efficient, precisely poet—Shelley, I believe—wrote this kind of because it deals with a small, immediate set of variables. diary: "Monday, woke, ate, rode, wrote, slept...") But, obviously, this is not the case, The second part of the equation has to do with the process of art-making. because we can be moved by artwork, find The system an artist creates does not, of course, spring full-grown from something in it that, at some wordless level, herhead, like Athenaleapingfrom Jove—ithas to be fashioned, with labor applies; by some magical means, we find a way and luck and the hard manipulation of all the vicissitudes that essential to move around in the systems of others. randomness brings to bear, bending the pieces until they fit the pattern they seem to describe. The nature ofart-makin g is perhaps well illustrated And that, perhaps, is the best argument of all for the primacy of our through the metaphor of the argument. Art, as a process, is the artist commonality. Thatl can be movedon alevel beyond the intellectual by your quibbling with herself. The quibbling, true to its definition, revolves artwork, by a sonata written two centuries ago, by a crazy carved walking around the personal minutiae of experience, perceived identity and stick, is a testament to the idea that we aren't that different. The systems we persona, desire, received knowledge, everything that's bred in the bone, build for ourselves, while necessarily varied in the details and their resultant every hope for possible alternatives. She quibbles over hierarchy and endpoints, are remarkably similar in their schemes. The notes don't match, numerical value, order, worth and appearance. In essence, all the parts of but I recognize the rhythm. This is what Stendhal knew as he collapsed in the whole person in her place in the world (and the way she understands front of Renaissance paintings, this is what Beethoven heard in Mozart's her place in the world), broken down into manageable units, named and operas. This is what I know when I trace the steps of Shakespeare's prince, unnamed, are argued into increasingly smaller components, which, small when I walk into a gallery—it can happen anywhere—and find myself enough, begin to arrange themselves in recognizable ways. The hard way. whirlingbeforean artwork thatisn'ttryingtoteUmesomeming,butis telling Tiny compromises are attained in the end, although they are always me nonetheless about the way /order and pattern this world, despite subject to change and revision, refinement. The results, typically, I think, iconoclasm, despite our essential isolation, despite, in fact, the very nature of are a surprise. Art, as a result, an object, a work—be it a painting, sonnet, chaos and the lonely path I trace through it. symphonyorduckdecoy—4sthenotesandmemorandaofthatquibbling, thecompromise reached in meargument.It'smegreater shape the details take after they've been wedged into place. Nathan Guequierre is a poet living and working in Milwaukee 30 Art Muscle CARNIVALE: Celebration of the Masked Self

Jilan Glynn Patrick Turner Bill Carman Teri Duck >A,Kr t&Frames Marvin Hill Jerome Karidis Carol Schmidt Bill Reid ou don't need Giano Lovato Candace Hoffman to understand Joel Pfeiffer

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