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Milwaukee galleries do well at Art Basel Miami
MIAMI — With more than 20 art fairs to visit during Art Basel Miami Beach, one of the art world's most prestigious gatherings, itself host to more than 250 blue chip galleries selling everything you'll next see at the Whitney or on a wall of a home featured in Architectural Digest, it's hard to choose which fairs to get to.
After catching a break from Mother Nature who had delayed my flight for two anxious hours, I arrived late to my hotel, dropped off my luggage and raced to the tony Soho House for an opening party hosted right on the beach. Within minutes of my arrival, David Arquette nearly steamrolled me as he mindlessly staggered through the crowd. I think I caught Adrien Grenier at the bar, where several nubile 20-somethings perched with their drinks. But maybe it was his look-alike. I began to worry that I was going to be seeing more celebrities than art; after all, it seems celebrities these days show interest in art as a means for establishing their bona fides as important members of the culturati–see James Franco and Lady Gaga. But, I was wrong, I was going to be seeing some amazing art. By the morning, I realized my crankiness was just travel blues. My companion and I made our way over to the Miami Beach Convention Center for the preview opening of Art Basel Miami Beach.
The Miami iteration of the fair has been around since 2002. In its 11th year now, Art Basel Miami Beach has emerged as one of the largest and most important art fairs in the world. There are no small white tents outside on the street where makers sell handmade items like baskets, ceramic vessels, and tourist photographs made with the latest HDR technologies; this fair and the others host global fine art galleries with brick and mortar spaces in art districts around the world. White Cube, Paul Kasmin, Metro Pictures, Sean Kelly, Barbara Gladstone–they are all there. The exhibitors bring their best work making these huge fairs an art enthusiast's dream.
Some of the most exciting booths were Carolina Nitsch's, where Marylin Minter's paintings were wowing visitors, Sean Kelly's giant photo of Marina Abramovic showed that the godmother of performance art is still enjoying the afterglow following "The Artist is Present," and Gagosian Gallery had a booth packed with objects made by Basquiat, Koons, and Richard Prince. That booth reeked of the imperial power Larry Gagosian wields. I got the impression that all the work was already sold before the preview got started -- none of the dealers could be bothered to raise themselves out of the comfy mid-century chairs assembled in a central position. They looked like they were preparing for another Vanity Fair shoot.
At Art Basel and the other fairs I visited included Pulse, Art Miami, Project Miami, NADA, the Wynwood art walk, and Aqua, I enjoyed discovering the work of of David Renggli, Carlos Arnaiz, Juan Genoves, Trevor Paglen and Jorge Mayet. It was remarkable how much text art was on view and it seems that the shellacked, glossy surface is en vogue this year. Female artists were sadly under-represented as usual. Patricia Piccinini and Swoon were among the few female artists I saw represented. Attending the opening of the new Pérez Art Museum Miami was great for seeing new architecture by Herzog & de Meuron, which was not in fact designed by the firm's namesakes, but rather by senior partner Christine Binswanger.
Milwaukee found itself represented well at NADA and Aqua. Deb Brehmer's Portrait Society Gallery occupied a hotel room in the cleverly organized Aqua fair which had taken over a small Deco hotel on Collins Avenue, the main drag in South Beach. Brehmer introduced visitors to the breadth of her exhibition program by exhibiting work from locals like Tara Bogart, Demitra Copoulos, Bernard Gilardi, Shane Walsh, Shimon and Lindemann, Nadav Benjamin and Nicholas Grider. A steady stream of visitors was making their way through Brehmer's booth/hotel room while I cooled my heels in the open-air atrium outside her space. I saw posh collectors spending a good deal of time talking to Benjamin who made the trip down to Miami. Walsh's paintings nearly sold out and Cooulos's sculptures sold the very last afternoon of the fair. Artist Nick Cave expressed delight but lost out to a last-minute buyer.
I traveled up the beach to visit the New Art Dealers Association (NADA) fair taking place at The Deauville Beach Resort. Milwaukee's Green Gallery organized a booth exhibiting work from Michelle Grabner, David Robbins, Emily Sundblad, Spencer Sweeney and Anicka Yi. Perhaps a bit more calculated (though it's a no-brainer to show Grabner's work given how much press she's getting as a Whitney Biennial curator) and slick than Brehmer's project, John Riepenhoff and Jake Palmert's gallery represented the conceptual side of the Milwaukee market well with a simple arrangement of recent work from his roster of artists. The installation echoed Brehmer's style as well as almost everyone at the fair, in that the work was grouped by artist to make for easier browsing. I came across few innovative installations, Green Gallery being no exception.
Riepenhoff told me that most of the work, which leans toward the more esoteric side and appeals to a more specific collectorship than the emerging collectors who frequent Aqua, had already sold. While I found Riepenhoff to be oddly evasive as I asked him if it's meaningful for Milwaukee galleries to be represented at the most important week in the U.S. for commercial art dealers, I thought his candor about his faith in conceptual art and his efforts to bring conceptual art leadership to Milwaukee to be authentic and instructive. Who can argue that Green Gallery isn't miles ahead of the pack (including Milwaukee Art Museum) in bringing conceptual art to Milwaukee? "We are in Milwaukee, we are the only gallery doing what were doing," Riepenhoff told me.
Riepenhoff intimated that the Milwaukee collector base for this work is anemic. Perhaps this explains why Green Gallery spends so much time visiting global art fairs. Wondering if a gallery has a role in transforming hometown collectors, I reminded him that Milwaukee was once a far more cosmopolitan city with major collectors. He responded that his encounters with global collectors are important to the gallery's business, '"We see people from London, LA… they realize we're not going away." Riepenhoff believes that Green Gallery is important to Milwaukee because it brings conceptual work to the city and allows artists on his roster to have a uniquely Milwaukee experience, but he sees the gallery's presence at NADA to be more illustrative of the decentralization of the art market rather than essentially important to the continued development of Milwaukee's reputation as an art center.
Brehmer's program feels more approachable, and the impact of her presence in Miami during Art Basel cannot be underestimated. While Milwaukeeans know that the art culture in our city is increasingly diverse, the rest of the art world is still slow to admit that great art is being shown in Milwaukee. Despite the visible legacies of collectors of yesteryear like, Frederick Layton, Marcia and Granvil Specks, the Flaggs, the Segels, Maurice and Esther Leah Ritz, and the Bradleys, Milwaukee collecting is largely unknown to visitors at Art Basel, the annual event, which drew to a close Sunday, and even to visitors to Milwaukee. To illustrate this point, Brehmer quotes one visitor who said, '"Milwaukee? We didn't know there was culture in Milwaukee."' Unlike, Riepenhoff, Brehmer seems to be comfortable with the idea that her work at the fair was deeply important to the city's reputation: "I feel like I'm an ambassador… I think it is useful for Milwaukee."
Paul Baker Prindle is the director of university galleries at the University of Nevada, Reno. He was previously the director of galleries at Edgewood College in Madison and is an Art City contributor.
Tags: Art Basel Miami Beach
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Dirk Skreber's exhibit at Milwaukee Art Museum captivates with catastrophe
A crumpled car and steel installation outside the museum is part of the "Currents" series exhibit of the German artist. Credit: Neil Kulas.
What is it that compels us to gawk at mangled cars on the highway or to get glued to cable news after a tsunami or oil spill? What impulse is it that makes us transform sites of suffering like Auschwitz or ground zero into places of tourism?
Are we drawn — seduced even — by calamity? Does looking allow us to glimpse, if at a safe remove, the ultimate and unavoidable unknown: death? Does it bring a thrill or a sense of collective experience into our mundane routines?
This at times unseemly fascination with the destructive force of things and its complex stew of emotions — awe, revulsion, attraction, curiosity, fear — is a primary subject matter for German artist Dirk Skreber, whose work is on view in the contemporary galleries at the Milwaukee Art Museum.
His large-scale paintings, a disturbingly gorgeous video installation and a sculpture of a crumpled car on the museum grounds are up as part of the museum's longstanding "Currents" series, exhibits meant to showcase relevant and emerging contemporary artists.
Skreber, who lives in Brooklyn and studied at the Kunstakademie Düsseldorf, offers us a meditation on how we rapidly acclimate to images of disaster, the ways pictures disintegrate and transform before our eyes, visually, conceptually and, perhaps, spiritually.
They are unsettling, filled with contradictions that tug us in opposing directions: the violence and beauty, the velocity and stillness, the hyper-realism and sketchy abstraction, the mangled objects and a pervasive slickness, the intense action and desolate emptiness.
In one painting of a van wrapped around a pole, there is an almost heightened sense of detail in the way the van's roof rips away from its body and leaves a sharp, exposed edge. You can feel the force of the collision in the crumpled nose of the van and the way the back doors are flung open and unhinged. This is where the eye goes.
And yet, depending on how and where you place your attention, the scene begins to dissolve in different ways. There is something oddly false about it all. The pole itself breaks apart into sketchy daubs of browns. Another car sits split apart, as if amputated at the midriff. The landscape is emptied of people and particulars, smoothed out and polished like a car exterior. It subtly reflects everything like a puddle. Strange, tall poles stand in the distance, reminiscent of scenes of Golgotha from the history of art and resonant with the idea of ancillary deaths.
The whole thing seems suspended between a cataclysmic, momentary accident and a decrepit ruin. Not only do the car and the paint break apart, the idea of the painting does, too. This is visual wreckage in more ways than I can number.
Nearby, in another painting, a lone train car hurtles through a similarly uncanny landscape. Or is it standing dead still? Minute bits of landscape seem to break free from gravity and the stoic calm of the painting and careen in tiny bursts of flung paint across the canvas.
At the center of the gallery are two monumental paintings of a diver swimming anonymously with what we learn from the title is some kind of rapid-fire, antimatter gun. Though some experts say weapons using antimatter are pure myth, the stuff of video games, research into the ultimate weapon has been in the news of late.
One painting is the inverse of the other, with the first in expected blues and the other in a range of hot oranges and yellows. The human figures and would-be weapons seem to be surfacing together like conjoined twins. The second painting reads like a film negative and is a reminder that much of what know of the world comes from images that are created.
One of the more disconcerting works in the show is a painting of a drone surveying a flood plain. The smooth, windowless aircraft is handsome, like a Nambe vase or Anish Kapoor art object. The landscape below is impossibly pretty, too, its silvery stillness reflecting the pale pinks, lavenders and yellows of the sky. It has all of the gloss of a Vanity Fair ad, and yet this drone embodies the idea of disembodied looking, too.
As is the case with many of Skreber's works, the vantage point is telling — something akin to the filmic long shot or implying surveillance, an all-seeing perspective.
The piece that brought the ideas of this show together, for me, though, is the video of a controlled car crash that, though it took place almost instantly, is slowed down to about 15 minutes before it runs in reverse.
Two silver dots seem to swell within the frame, marked by a hot-white line down the center until we realize we are looking at hubcaps racing toward a metal pole — and us. The black car buckles and curls around the pole, the windshield sails up like a handkerchief caught in the wind and glass is sent floating.
A still from Dirk Skreber's video installation at the Milwaukee Art Museum, showing a slow-motion car crash, is part of an exhibit that plays with the watchability of disaster. Photo courtesy of the Milwaukee Art Museum.
Though the video quickly falls into an abstraction of seemingly weightless and glinting objects, that point of impact remains clear, betrayed by the trajectory of expanding and retreating car parts. The soundscape Skreber created for it is a wall of buried, layered noises including the sounds of his own body and heart.
We lose track of what is we're looking at and get lost in the exquisite beauty of it all. This seems like a metaphor for our time, for the ways we are awed and ultimately inured by the spectacle of things like climate change and war. Can the visual evidence hold our attention any more?
Watching Skreber's video piece is like watching the birth, expansion and collapse of the universe, which only adds to the existential gravitas of the work.
When you go to see this show, be sure to see the installation of postwar German art in an adjoining gallery, including a monumental photograph of an oil rig by Thomas Struth, who also touches on issues of politics, science and art; Andreas Gursky's large-scale image of a hotel lobby; Joseph Beuys' famous felt suit; a large landscape painting by David Schnell that also seems to shed gravity, and one of my favorite pieces in the collection, Anselm Kiefer's "Midgard."
The museum is placing Skreber in the context of these other artists, and they do inform his work.
The "Currents" shows began at the Milwaukee Art Museum in 1982 and have included some of the better artists of recent decades, including Julian Schnabel (1987), Francesco Clemente (1988), Ross Bleckner (1989), Cindy Sherman (1991), Eric Fischl (1991), Louise Bourgeois (1992), Felix Gonzalez-Torres (1993), Damien Hirst (1994), Kiki Smith (1995), Ed Ruscha (1997), Gursky (1998), Rodney Graham (2001), Rachel Harrison (2002), and more recently Isaac Julien and Tara Donovan.
"Currents 36: Dirk Skreber" will be on view at the Milwaukee Art Museum, 700 N. Art Museum Drive, through March 2. For more information: www.mam.org.
Mary Louise Schumacher is the Journal Sentinel's art critic. Follow her coverage on Twitter and Facebook.
Too much testosterone at the Business Journal?
Forgive me, but am I to understand that Milwaukee's "power brokers" in real estate, construction and architecture are an "intriguing mix" of all men?
This is at least the case according to the Business Journal.
"In today's Milwaukee-area power brokers feature, we are spotlighting the executives in southeastern Wisconsin who are the key players in the real estate, construction and architecture industries, along with some of the top women leaders in our region," writes the Business Journal's editor-in-chief Mark Kass
Well, hey, at least they tacked on an "along with" category for women.
Why not include Ursula Twombly of Continuum Architects, Juli Kaufmann of Fix Development, any one of the women running Historic Milwaukee Inc. or even Grace La, who, though she left Milwaukee for a position at Harvard, is still brokering a lot of power in Milwaukee.
In fairness, the Business Journal is running its "power brokers" feature all week, and I'm sure women will fare better in other categories. Still, this feature seems stuck in the 1950s and desperately in need of an update and some estrogen.
Finalists named for public art project on W. Wisconsin Ave.
Colorful cellophane murals, 100 billowing Bronze Fonzes, a beer garden to support artists and something called FaceBOX are among the dozen finalists named Monday for a public art -- or placemaking -- initiative to take place on W. Wisconsin Ave. next summer and fall.
In May, ArtPlace America, a consortium of national and regional foundations and banks that works with the National Endowment for the Arts and other federal agencies, awarded a $350,000 grant for the "Creational Trails" proposal, which is being overseen by two local groups, Art Milwaukee and beintween.
The project calls for activating two sites, a 10-block stretch of W. Wisconsin Ave. and a former rail corridor that connects the Harambee and Riverwest neighborhoods. The idea is to turn both sites into more welcoming, walkable and bikeable places.
In October, Art Milwaukee, which is coordinating the W. Wisconsin Ave. project, put out a "call for placemakers," which it defined broadly as "artists, designers, engineers and technicians from almost any industry." The group invited ideas for creative projects that would engage the public and bring interest and a sense of identity to Wisconsin Ave., the city's once vibrant artery.
The call resulted in 167 proposals which were winnowed down to 12. The finalists will pitch their ideas at City Hall at a public event on Dec. 10. Each team will have five minutes to make their case, and a jury of art and public space experts will select two to four winners. The selected projects will be funded and become part of a series of events on W. Wisconsin Ave. in 2014, including a camp out on the street in June.
The finalists are:
Adam Carr and Ken Kornacki for "100 Bronze Fonz Boulevard."
Andrea Skyberg for "We Are (Human) Kind – Five Life-sized Metal Tree Sculptures"
Jamal Currie and Theresa A. Kenney for "Avenue 101 – 4-8 Sculptural QR Code Patterns with Rotating Augmented Reality Galleries."
Paul Druecke, Brittany Kowalski, Marissa Waraksa and Oliver Sydello for "Title: MMXII_Wisconsin Avenue – Induction Ceremonies with Casted Feet, Hands and Signatures."
Cynthia Henry for "Storytelling, play reading, interviews radio broadcast show on Wisconsin Avenue and its culture."
Paul Bestul for "Moiré Effect Pathway/Gateway on Wisconsin Avenue."
Reginald Baylor for "The Milwaukee Machine – A 40-Foot Plinko Game."
John Riepenhoff for "Biergarten Representing Artist-run Organizations."
Daniel Fleming for "FaceBOX."
Ayla Boyle for "Wisconsin Avenue Dream Catchers – Hanging Over Wisconsin Avenue."
Evelyn Patricia Terry for "Luv Downtown StreetSeats: Make a Present, Make a Future."
James Carlson for "Polyplane, Cellophane Semi-Temporary Public Art Murals."
While there has been some skepticism about the "Creational Trails" projects, including from me, Matt Wild at the A.V. Club Milwaukee and longtime local arts blogger Mary Dally-Muenzmaier, the list of finalists represents considerable buy-in from a broad range of Milwaukee's art community.
The jurors will include former Milwaukee Mayor John Norquist; public art consultant Regina Flanigan; Claudia Mooney, arts administrator for the Chipstone Foundation; director and producer Brad Pruitt; Lisa Sutcliffe, curator of photography at the Milwaukee Art Museum; Debra Brehmer, director of the Portrait Society Gallery; and Preston Cole, environmental services superintendent at the Department of Public Works.
The pitch event, called a "Tournavation," will take place at City Hall on Tuesday, Dec. 10, from 6 to 8 p.m. The public will be invited to vote for a "fan favorite." Complimentary appetizers and drinks will be available, while they last, from Mo's Irish Pub, Mo's Steakhouse and Sprecher Brewery. A discussion about the projects will continue at an after party at the Intercontinental Hotel.
About 53% of the total grant will go to selected creative projects at the two sites; 15% goes to the "placemakers in residence," or Art Milwaukee and beintween, the two groups responsible for crafting, organizing and implementing the overall projects; the remaining 31% goes toward juror fees, adviser fees, administration, strategic planning, events, marketing, a community outreach coordinator and research.
Tags: placemaking
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Ten art books for art lovers this holiday season
There's almost nothing better than the gift of a book, if it's well chosen. With it comes new ideas and time to oneself, among other things. Here are 10 books I can recommend for the art lovers on your holiday gift-giving list this year.
"9.5 Theses on Art and Class" (Haymarket Books), by Ben Davis. This collection of essays is a welcome antitoxin to the art world's festering cancers. Davis dives right into the most confounding of art world debates: What does it mean to be an artist? What should an economic infrastructure for art look like? Do politics and art belong together? A timely reminder about why art matters.
"A People's Art History of the United States" (The New Press) by Milwaukee artist and activist Nicolas Lampert. A parallel art history and a deep dive into activist art dating from the colonial period to the present.
"Art as Therapy" (Phaidon Press), by Alain de Botton and John Armstrong. This book should put the "art for art's sake" argument to bed forever, making a thoughtful case for art's intimate and practical purposes.
"Art Cities of the Future: 21st Century Avant-Gardes" (Phaidon Press), by Antawan I. Byrd and Reid Shier. Making the case that the most cutting-edge artists today are not always working in the art centers like New York.
"The Flamethrowers: A Novel" (Scribner), by Rachel Kushner. A wonderfully rich story about what it means for artists to love each other, steeped in the stuff of the 1970s art world.
"Hanging Man: The Arrest of Ai Weiwei" (Faber & Faber), by Barnaby Martin. An intimate look inside the life and detention of one of the most important political artists in the world and a knowing primer on contemporary China.
"Inventing Abstraction: 1910-1925" (The Museum of Modern Art), by Matthew Affron, Yve-Alain Bois, Masha Chlenova and Leah Dickerman (editor). A retelling of a story you think you know filled with tales of influence, road trips and café encounters.
"Layton's Legacy: A Historic American Art Collection 1888-2013" (Layton Art Collection), by John C. Eastberg and Eric Vogel. A voluminous and richly illustrated book about Frederick Layton, whose art collection is part of the core collection at what is today the Milwaukee Art Museum.
"Nature Morte" (Thames & Hudson), by Michael Petry. A gorgeously illustrated exploration of contemporary artists working in the still life tradition.
"Shiro Kuramata" (Phaidon Press), by Deyan Sudjic. A gorgeous two-volume monograph, the first for this Japanese designer. Comes in a lovely acrylic slipcover.
Look for a list of more than 100 books recommended by arts and books editor Jim Higgins, with a little help from other writers, for this holiday season. You'll find it in Sunday's Cue section.
Tags: art books
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Art-inspired alternatives to Black Friday
It is kind of a gross tradition, when you think about it -- the need to buy stuff around a holiday dedicated to the idea of gratitude. When did the impulse to give gifts to loved ones become synonymous with standing in line at 5 a.m. for a deal on a flat screen TV made on the other side of the planet?
And while, yes, movements aplenty have sprung up to encourage shopping at local and independent businesses, I am going to encourage all of us to take that a step further. Please support local artists. It's a worthwhile tradition.
Below, you will find some art-inspired alternatives to the commercial orgy that is Black Friday and the biggest shopping weekend of the year, including the finale for the grand dame of holiday fairs in Milwaukee, the event that gave rise to so many others, Art vs. Craft.
But first, give a listen to the recommendations made by Art City contributors, who graciously called in with ideas for this week's episode of Art City Radio. They come in after my interview with Nicolas Lampert, just after 24:55.
Art vs. Craft, Harley-Davidson Museum, 400 W. Canal St.. This is the finale. After a decade, organizer Faythe Levine is rolling up this wonderful fair to focus on new projects, which will most certainly be fantastic. This fair gave rise to so many like it, though very few are as thoughtfully curated as Art vs. Craft. It happens Saturday from 10 to 6 p.m. Admission is $5, free for children under 13.
Dean Jensen Gallery, 759 N. Water St. "Big Bangs, Small Bucks Redux." This show represents an opportunity to truly add something unique to your art collection for a fraction of the cost you'd normally pay. Dean puts his best artists up and at huge discounts. Everything is priced at or below $1000, with many things well below that price point. I'd especially recommend the Claire Stigliani and Tyanna Buie prints and drawings. These artists may not be priced this low again. Friday is the last day for this show. The gallery is open from 10 to 6 p.m.
Portrait Society Gallery, 207 E. Buffalo St., Marshall Building. Consider an inexpensive Rudy Rotter sculpture or a Ringo White collage. These artists made art for the whole of their lives and not for public consumption or sale, but because the act of invention was so essential. "It puts forth the idea that a quiet focus and a commitment to making things is really where the richness of life exists," writes gallery owner Debra Brehmer. "As a gift, these items carry more than their simple material weight. They express a value and an idea." The gallery is open Friday and Saturday from noon to 5 p.m.
Grotta & Co., 207 E. Buffalo St., Artist Laura Goldstein offers one of the most unique and welcoming boutiques in Milwaukee. She designs, prints and hand dyes beautiful pillows, scarves and other items for interiors using silks, linens and cottons. The dying process takes weeks of careful processing. The layered imagery is culled from Goldstein's scavengeing of the visual universe. The result are incredibly unique and elegant items that make for timeless gifts. A bit pricey but well worth it, given the craftsmanship involved. In the lobby of the Marshall Building.
Hot Pop, 201 N. Water St., when it comes to fun shopping, Hot Pop is about as good as it gets. This is a seriously cheerful store where you'll find designer toys for grown ups, design-minded stuff for the house and super fun odds and ends. They also have an art gallery where they show the work of Midwestern artists suited to their Pop-infused aesthetic. Visit them in their brand new location.
San Remy Gallery, is an artist cooperative hosting a Black Friday sale, with all original art and craft items reduced 20%. This includes paintings, jewelry, wearable items, furniture, ceramics, metal works and glassware. They are in the lower level of the Marshall Building, a hub of art galleries, and open Friday and Saturday from 11 to 5 p.m.
THE Fine Art Gallery, 207 E. Buffalo St., will be selling small artworks especially for the holiday season. They're open Friday 11 to 5 p.m.
Sparrow Collective, 2224 S. Kinnickinnic Ave. a personal favorite, this shop features the work of over 100 independent designers and artists from across the U.S. The prices are better than most, in my experience, and they carry everything from handmade clothing, printed T-shirts, accessories, soaps, candles, gifts and more. This is also not a bad spot to shop for men and children.
Sky High Gallery, 2501 S. Howell Ave., stop in and crawl inside the "Crystal Cavern" for a womb-like sound installation and a geometric, sculptural hideaway. I can think of no better day to step inside this petite, artist-made chapel of calm and art. Also, there are gorgeous and nicely priced artworks by Bothwell Fels that are a visual representation of how human beings are made from the "genetic and emotional layers" of thousands of people. Open Friday noon to 7p.m. and Saturday 11 to 6 p.m.
Milwaukee Makerspace, 2555 S. Lenox St., like to celebrate what they call "Makesgiving" or "Make Friday." They team upwith Bucketworks and invite us to make things instead of buying things for the holidays. Past projects hae included ornaments, 3D printed cookie cutters and DIY wapping paper. Starts at noon Friday.
Black Sheep, 216 S. 2nd St., bring in a receipt from a local downtown Milwaukee business on Friday, Saturday or Sunday and get happy hour pricing on your drinks or $5 off Sunday brunch. Plus enter to win $100 in gift certificates from Lela, Blush Beauty, Five Hearts and Stephanie Horne. Click link for hours and and menus.
Boswell Book Company, 2559 N. Downer Ave., is participating in Indies First, a celebration of idependent businesses from 11 to 5 p.m. on Saturday. Authors will be on hand "working" as booksellers. Some of these writers include Liam Callanan, Lois Ehlert, Lauren Fox, Jessie Garcia, C. J. Hribal, Valerie Laken, JoAnn Early Macken, Rochelle Melander, Julia Pandl, Robert Vaughan and Larry Watson.
Art Bar, 722 E. Burleigh St., Riverwest, the "Mini" show is one of the best places to buy works of art by local artists all year. It's a big show of tiny artworks and -- fair warning -- totally uneven. Still, I almost find one or two little paintings that I covet among the hundreds hanging on the wall. Plus you can stop and have a drink while you peruse. Open 3 p.m. to 2 a.m. Friday and noon to 2 a.m. on Saturday.
Garden Room and Anaba Tea Room, 2107 E. Capitol Dr., Shorewood, is a lovely spot where you can enjoy the sun in winter, in the solarium-like lower level and rooftop garden. The main floor offers wonderful gifts, plants and items for the home. The Tea Room is a great place to stop for a nibble. I recommend the Early Grey with Lavender tea or, better yet, The Grey Lady, which is Early Grey with champagne. Local art hangs on the walls downstairs. You will get a $10 gift card for every $50 you spend in the Garden Room Saturday and 20% off all bulk and packaged teas. They are open from 10 to 9 p.m.
The Waxwing, 4415 N. Oakland Ave., Shorewood, is a small boutique with a nicely curated selection of handmade items by local artists. Highly recommended. They are offering 15% off on Saturday (and will also be present at Art vs. Craft). Open Friday 11 to 7 p.m. and Saturday from 10 to 5 p.m.
Salvaged Studio & Gallery, 1409 N. 54th St., has a variety of Milwaukee-themed artworks, including prints, photography and cards. They'll have ready-to-give "Loco for Local" gift sets available and can help customers put together custom gifts, including, candles, honey, soaps and jewelry. They are open Friday from 9 to 7 p.m.
The Pink Llama, W62N580 Washington Ave., Cedarburg, represents about 90 artists and more than half of them are from the state of Wisconsin. They are offering a gift with purchase this weekend and a chance to win a tote bag and gift certificate to the gallery. Open Friday and Saturday from 10 to 5 p.m. and Sunday 11 to 4 p.m.
Rivers End Gallery, 380 W. Main St., Waukesha and 890 Elm Grove Rd., Village Court, Elm Grove. These galleries, carry original art, mostly by local artists. On Black Friday they are offering 20% off anything in the gallery, including paintings, sculpture, glass, ceramics, scarves and jewelry. Click link for hours at the two locations.
River Boutique and Yarn, 18900 W. Bluemound Rd., Brookfield, has been called a "knit what's in your head" kind of yarn shop that features yarns from around the world and unique gifts and artworks for sale. They will be offering deals for Black Friday, when they are open from 11 to 6 p.m.
Racine Art Museum Store, 441 Main St., Racine. This museum has a unique emphasis on design and craft and, in turn, a great eye for hand crafted items from artists from across the country. They are offering significant deals for Black Friday, including 50% off select glassware, purses, books, toys and games. For instance, the Design Stockholm House Twist Tables will be priced at $189 rather than $550. There also will be complimentary gift-wrapping with every purchase over $30. And of course, complement your visit with some time in the museum's galleries. They're open Friday from 10 to 4:45 p.m.
Sheboygan Visual Artists, Holiday Show and Sale, EBCO Artworks, 1201 Erie St., Sheboygan. This exhibit and sale will open on Saturday and Sunday (and on weekends through the end of December) for those who want to buy holiday gifts.
John Michael Kohler Arts Center ARTspace, 725 Woodlake Rd. and 608 New York Ave., Sheboygan. Here is amuseum with an eye for handmade and visionary art a little less than an hour away and well worth the drive. The ARTspace shops in the museum and a nearby shopping area are among the best places for beautifully curated handmade items you'll find in the region. Make a day of it and see the "The Open Eye" exhibitions as well. Click links for hours at the two locations.
Purloin Studio, N88 W16567 Main St. Menomonee Falls, carries the works of more than 60 artists, many from the region. They will offer free gift wrapping with purchases from the gallery or bookshop on Black Friday, and have a cafe where you can sip coffee while you wait. They are open Friday from 11 to 2 p.m.
Tags: Black Friday
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Art City Radio: Nicolas Lampert and Black Friday
On this week's episode of Art City Radio, I sit down with Milwaukee artist and activist Nicolas Lampert. We talk about his new book, "A People's Art History of the United States."
Where political resistance exists in the world, whether it be Occupy or the Arab Spring, artists are often right at the heart of it, creating the words, actions and imagery that propel these movements. Lampert has written an ambitious book that puts art history and the worlds of politics and social justice back together where they belong. It chronicles 250 years of activist art in the U.S., detailing key works of political art from the colonial era to today.
Then, the Art City contributors weigh in with alternatives to the commercial orgy that is Black Friday (go to 24:55). This time of year represents a great opportunity for all of us to support local artists. Art City Radio is produced by Art City contributor Adam Carr.
Tags: Art City Radio : Nicolas Lampert : Black Friday
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Art City Radio: Tag Milwaukee
On this week's episode of Art City Radio, I talk to Sherman Pitts, Christopher McIntyre and Mikal Floyd-Pruitt of TAG Milwaukee.
I first spoke to Chris for an interview about the "Wisconsin 30" exhibition at the Milwaukee Art Museum and was really moved by his insistent optimism. Chris, who seemed to be at the museum constantly to talk to visitors, told me about how the exhibit had brought together many black artists in Milwaukee who didn't know each other. He also talked about what he called Milwaukee's "art desert," neighborhoods where art is scarce.
During this episode, we talk about the value of introducing art in places of cultural drought.
"Even where the state might fail or where the traditional infrastructure of government or politics might fail...sadly we may not be able to look at these institutions to solve some of the problems of Milwaukee," said Mikal during our podcast discussion. "And I would question if some of them even sincerely do want to solve them. But art, music -- these are avenues for personal transformation, where a young person can learn how to navigate their way out of these problematic situations."
Chris is himself an example of this, he tells us.
"Aside from my driving belief in God, I think art saved my life," he said.
Here is the episode, which also includes recommendations for your weekend from contributors to Art City.
Nohl exhibit a mismatch for some fellowship winners' art
I walked away from the Mary L. Nohl Fellowship exhibition wonderfully taken in by the seven artists in the show, winners of the most prestigious award for regional artists, and yet I found the show itself muddled and underwhelming.
The show is the culminating event of the yearlong fellowship, named for the late Fox Point artist who made the prize possible with a bequest at the time of her death in 2001.
The exhibition is effectively a group of seven solo shows and a test of sorts — a gauge of where these artists are in their careers and what they accomplished with the time and resources afforded by the fellowship, which comes with a cash reward of $15,000 for established artists and $5,000 for emerging artists.
The current show marks a decade of the program, which has provided critical and rare support to individual artists, the kind of support that is particularly hard to come by in the region. The majority of Nohl winners have remained tied to the Milwaukee area and contribute to the city's cultural life, according to Polly Morris, who administers the program for the Bradley Family Foundation.
This show may be a bit clunky in part because many of the artists create socially engaged and at times journalistic work that is better suited to the street or social media platforms than the gallery wall. This creates a genuine curatorial challenge.
Faythe Levine, for instance, moves through the world researching deeply, scavenging for experience and sharing knowledge and impressions generously on a daily basis. She is a curator and artist who works on a scholarly level, producing films, books and exhibitions. But she also implores her audiences to "LOOK," "READ" and "GO," sharing her own photographs and the work and ideas of others on Facebook and Instagram.
There is something very dynamic about the flow of knowledge and aesthetics in Levine's practice, and we are all invited to seek along with her. And all of it, the deep dives into subject matters like sign painters and the in-the-moment observations, add up to something coherent, an ethic that has something to do with a sense of openness, the value of everyday moments, living life on one's own terms, the beauty of craft and the value of self-defined communities, among other things.
For the Nohl exhibit, Levine shared photographs from an in-progress project to document pioneering, off-the-grid communities across the country, people who for one reason or another commit to a life beyond the reaches of mainstream society, nestled into the Appalachian mountains or drifting on the Mississippi River. Several artists in the Nohl exhibit -- and artists in general, for that matter -- are sensing and responding to the shortcomings of capitalism these days. Levine manages to be both an outside observer and an insider in her research, and her access strikes me as rare and incredibly valuable at this moment in time.
She is documenting communities that want to remain anonymous, however, which creates a huge formal challenge — the need to describe a human story without faces, at least for now. She rises to the challenge, finding beautiful and telling moments in these handmade, DIY places, the storybook outhouse or a colorfully painted wooden sign that reads "Witch Sex," the latter referring to the embrace of all sexual orientations in one settlement.
Anyone who has followed Levine on social media will recognize her snapshot-like aesthetic, a kind of visual field notes. But there is something about putting these images into a frame and onto a gallery wall that takes the life out of them, at least for me. I can't help but wonder if they aren't better suited to the kind of dynamic narrative Levine creates online than formal, fixed objects worthy of individual contemplation.
Similarly, I absolutely love that Paul Kjelland won the Nohl in large part for founding the Riverwest 24. The out-of-town jurors judged the annual all-night bike ride in Riverwest to be art, with all of its Stations of the Cross-like ritual, performance and animation of public space. Kjelland is also part of a print collective that creates and freely gives away posters and materials to aid social justice movements, the co-curator of "Night School" a public lecture series at the Riverwest Public House and an organizer of ReciproCITY, which he describes as a "mobile experimental cultural and independent media center."
Like Levine, Kjelland creates a support system for a certain kind of scholarship and activism based on direct experience, community building, the open sharing of knowledge and art. Like Levine, there is a coherent ethic and a bringing together of people who have similar values as well as an interest in artistic activity.
Still, none of the joy of the bike ride and none of the ephemerality and generosity of the print projects seem present in the installation at Inova, which consists mostly of Kjelland's political posters in frames. Again, part of the power of these posters is the way they exist in the world, a quick, graphic output that fuels real-world resistance against things like mining in the Lake Superior basin and poor living conditions in a super-max prison. Like Levine's photographs, they don't stand up to this kind of formal presentation and seem suited to other uses anyway.
By contrast, many of Lois Bielefeld's photographs do hold up well. Bielefeld creates projects of social and conceptual portraiture and included two bodies of work in the show, one featuring people sitting down to a weeknight dinner, the other featuring Wisconsinites and their handguns.
I found so much humanity in the dinner portraits, whether a group of kids sitting on the floor in front of a TV or a couple sitting close on the same side of the kitchen table. The refrigerator magnets, the celery sticks, the flatware and the family portraits inside the portraits, all become part of these contemporary still lifes, formally beautiful, telling in the details and yet composed from real moments.
Still, some photographs were much stronger than others and the two projects were a lot to take in, crammed onto several separate gallery walls. It's too much. The installation would have benefited from slicing the number of works in half.
Then there is Brad Fiore, who set up what he calls the Karabekian Center, which consists of reading tables, audio recordings in which people grapple with the meaning and purpose of contemporary art and faux works of real art made by volunteers. I assume the center is named after minimalist painter Rabo Karabekian, who famously caused a spiritual awakening in Kurt Vonnegut in a restaurant. Karabekian, or so the story goes, was accosted by a waitress hurling the cliche my-kid-could-make-that argument only to have the artist make an impassioned and convincing case for art.
Articulating the value of contemporary art seems as relevant as ever today, so Fiore is mining rich territory. One of the more provocative aspects of his project involves taking a filing cabinet filled with art theory books and the faux artworks out onto the street to engage with the public about contemporary art. I confess, I adore this idea, of making the stuff that rattles around in our minds physical and taking it out on the street to see if it has any practical use. For that matter, I like the idea of naming the books that that would be essential and go in the cabinet. Some of these encounters could have been -- should have been -- fascinating, even if they were abject failures.
But they weren't. At all. And maddeningly so. I can't help but wonder if Fiore was more enthralled with the idea of this exercise and how it would play out in the gallery than the actual work of finding a way to forge meaningful dialogue about art with strangers in his neighborhood. Part of the documentation is a photograph of Fiore sitting alone on a Riverwest sidewalk with his heavy cabinet of theory. This seems to sum it up.
Fiore invited me to participate in his project along the way. He asked me to re-create one of the paintings that he used to engage people. He invited me also to come in for an interview that would be used in the exhibition. As a critic, I don't tend to get involved directly in work that I am in the process of writing about. And yet, Fiore pressed me to confront an ongoing issue in my own work -- how to approach art where participation is essential to the experience. I did appreciate that.
I find it amusing and more than a little bit endearing that Fiore was so annoyed when we asked him the very question he poses to complete strangers on the street during a recent episode of Art City Radio (go to min 41:00), a podcast about art and culture. (On a personal note to Brad, Adam and I will find a way to answer that question for you soon enough).
Tyanna Buie, a printmaker and the first black woman to win a Nohl, explores the impermanence of her childhood in the foster care system through a journalistic gathering of information and imagery and a visual packing and unpacking. She fills in some of the blanks of her fragmented family narrative with pop culture. Bill Cosby becomes a stand-in for her dad in large-scale prints that recur on the walls of her space like a nightly rerun of an old show.
Buie is also experimenting with moving off the wall and into space in this show and she did at the "Current Tendencies" show at the Haggerty Museum of Art. An almost life-size ice-cream truck based on a childhood memory of her father sits in the center of the gallery, made from folded paper, fragile and able to collapse, like memory itself. There is a whole lot of energy coming off that truck, a ghost of Dreamsicles past. Still, knowing a bit about Buie's aspirations, I can't help but wonder if the installation, as a whole, was as resolved as she had hoped.
I have not had a chance to see any of Danielle Beverly's documentaries in their entirety yet, so I am less equipped to comment on her work, but the clips screening at Inova are full of story and enough to make me want to pay close attention to this artist. I was especially intrigued by sequences from her forthcoming film "Old South," which attempts to chronicle what happens in a historically black neighborhood in Georgia as it confronts the Confederate flag-flying college fraternity that moves into the area. The footage has some run-and-gun roughness that in this case implies a certain constancy -- someone who is present, watching, framing and bringing insight -- but also some compositional characteristics that are mindful of painting and photography, too.
Colin Matthes' "Green Mini Demo Derby" was perhaps one of the greater successes of the Nohl show for me. As he often does, Matthes invites us to play. He recruited several local business owners to sponsor a car — toy-size, handmade, wooden, remote-controlled and solar powered — and to compete in his to-the-death, table-top derby. The businesses are those that come to mind when you think "shop local" or "buy green." The nice, Midwestern outfits like Colectivo Coffee, Brenner Brewing, Sky High Skateshop and the Riverwest Public House.
Milwaukeeans cheered on their beloved brands as they tried to smash each other to bits in the various heats (or the video documentation playing in the gallery). The rules required each driver to crash into another every 30 seconds or be disqualified.
On the one hand, the project is as fun and innocent as a go-cart race. It has a boyishness to it that initially tempted me to dismiss the whole thing until I realized how appropriate that is. Matthes is exploring more sinister ideas about -- here's that theme again -- the shortcomings of capitalism. He riffs on familiar and futile games, the stuff of the state fair, the toss-the-ring-like games that wouldn't exist without terrible odds for most players.
Watching Matthes' spectacle, I am mindful of the intrinsic human attraction to both collaboration and competition and the ways these things manifest in contemporary life, in communities and for individuals, actively and passively. There is something indulgent and absurd about how all of this plays out in the gallery, a form of participation that doesn't make much sense — to potent effect.
In the end, I come away from the Nohl Exhibition caring deeply about these seven artists but wondering if the artist-to-curator negotiation that resulted in this show and that is part of the Nohl Fellowship worked as well as it could have. This year, that curatorial work fell to Sara Krajewski, the new director of Inova.
Was there a way to bring more of the dynamic nature of Levine and Kjellend's practice into the gallery? Did Fiore and Buie need more feedback. Was there discussion about editing Bielefeld's work? Why is it that the show doesn't seem as good as the artists in it?
While there is an enormous amount of additional programming around this year's show that informs the work, the gallery experience is still central. It is perhaps the only way that the community as a whole experiences the value of this incredibly essential prize.
The Mary L. Nohl Exhibit is on view at Inova, 2155 N. Prospect Ave., through Dec. 15.
All images courtesy the artists, Inova and the Bradley Family Foundation.
Art City's weekend recommendations
If you are looking for some in-the-know recommendations for your weekend, here are some sage choices from the Art City contributors, including a talk by cartoonist Art Spielgelman, an exhibit exploring the role of participation and contra dance in one of the oldest bowling alleys in America.
David Robbins, Paul Druecke, Pedro Velez to be in 2014 Whitney Biennial
Two Milwaukee artists -- David Robbins and Paul Druecke -- will be among the 100 or so artists in the 2014 Whitney Biennial, the only exhibit in the country to make a serious attempt at showcasing the best contemporary art being made in the U.S.
The sprawling, museum-filling exhibit is always a daunting task, and in an effort to get it right the Whitney Museum of American Art announced nearly a year ago that it would experiment with its curatorial strategy by enlisting three curators who work outside of New York and the art world's usual power structures.
One of them is Wisconsin native Michelle Grabner, who functions at both the heart and frontiers of the art world, as does her art. She is the chair of the painting and drawing department at the School of the Art Institute of Chicago, a critic in residence at Yale University and an artist with a recently opened exhibition "I Work From Home" at the Museum of Contemporary Art Cleveland.
It was Grabner who selected Robbins, Druecke and other artists with ties to Wisconsin, such as Pedro Velez, who has explored Milwaukee's art community as a subject, and Molly Zuckerman-Hartung, who has been a fixture at the Poor Farm, Grabner's alternative space in Waupaca.
It seems especially fitting that Robbins' selection would be announced in a week when so many are gnashing their teeth over the gilded and fame-fueled nature of the art world as the painting by one famous artist of another famous artist sold at auction for an ungodly sum. Francis Bacon's "Three Studies of Lucian Freud" went for $142 million at Christie's Tuesday evening.
Robbins, who worked in Andy Warhol's factory in the early `80s, was one of the first artists to explore the art world's relationship to fame, spectacle and the entertainment industry. Robbins has always been interested in making popular culture smarter, in finding a spot for the public intellectual to engage with a mainstream audience. He is perhaps best known for his 1986 work "Talent," which explored the notion of art-world celebrity, a relatively new concept then, and featured the headshots of art stars such as Cindy Sherman, Jenny Holzer and Jeff Koons.
Later, Robbins created a project called "The Ice Cream Social," a classic, American pasttime transformed by Robbins into a fun and intellectual art experiment. The multi-platform project included a Laugh-In-esque TV pilot for the Sundance Channel, a dance party-talk show featuring many Milwaukee artists and personalities.
In 2009, Robbins produced a new body of work for the grand opening of the Green Gallery East, one of the city's more important and internationally connected galleries, owned by John Riepenhoff and Jake Palmert. That project, part of "The Lift Trilogy," explored the artist's interactions with a Milwaukee personal trainer via video, paintings and sculpture. Robbins also worked on the project "Something Theater," an experimental, half-hour TV show created with artists and recent Mary L. Nohl winners Bobby Ciraldo and Andrew Swant. It aired in the middle of the night in the Milwaukee market.
Robbins is also the author of "Concrete Comedy" (2011 Pork Salad Press) in which Robbins fashions an entirely new category of artist, one that resists a distinction from that of an entertainer, that connects the antics of William Wegman and Andy Kaufman. Robbins describes a comedy of objects and gestures that surfaced in the early part of the 20th century and that has found its way into fashion, architecture, advertising, design, music -- and art.
Fittingly, the book snagged some attention in the entertainment capitol, including an LA Weekly piece headlined "The Three Stooges and Chris Burden: What Do They Have in Common?" and a swooning blog by actor and hipster dilettante James Franco.
Robbins has also graciously contributed the occasional piece to Art City, including a recent interview with Comedy Bang! Bang! host Scott Aukerman and a conversation with artist Jennifer Bolande.
Druecke (left) is perhaps known for his project "A Social Event Archive" a collection of photographs of social occasions removed from their usual contexts, the family photo album, for instance. The archive includes the kinds of photographs just about everyone takes. Druecke began inviting people to submit a photograph, only one per person, in 1997, long before social sites like Facebook made looking at strangers' gatherings commonplace. The collection offers a poignant look at the ways people presented themselves and their relationships at a particular cultural moment. The project seems prescient today.
(Druecke's "A Social Event Archive" books are included in Brad Fiore's installation at the Nohl Exhibition at Inova currently and were, coincidentally, included in my recommendations for this weekend's art events)
In more recent years, Druecke has been looking at the ways that we physically memorialize things and create landmarks. He, for instance, riffs on the idea of the familiar historical marker, commenting on the ways history and authority are created in public places. He installed a plaque titled "Near Here" outside of Inova, the contemporary arts center at the University of Wisconsin-Milwaukee, which includes fragmentary and confusing language. Inserted into the landscape like any other marker, it takes people by surprise. Druecke created a similar but much larger and more ephemeral version for the then highly contested Sydney Hih building as part of an In:Site temporary public art installation in the Park East corridor a few years ago, and also installed a large, blank marker at the Poor Farm, a contemporary art space in Waupaca that is owned by Grabner and her husband, artist Brad Killam.
Perhaps playing up the off-center nature of his artistic practice here in Milwaukee, Druecke participated in an "Art City Asks" interview in which he is literally off center. It was conducted by interactive artist Nathaniel Stern in 2010.
Robbins and Druecke have been very influential on Milwaukee's art scene over the years, if quietly so, influencing the thinking and language of countless other artists and curators through informal interactions and collaborations. Both were central figures in articles and accompanying large group photographs from 2011 and 2001, documenting Milwaukee's avant-garde.
More recently, Velez has been quite influential as well, through provocations and thoughtful analyses that explore Milwaukee as a unique place for art making.
It has been years since a Milwaukee artist was included in the biennial. In 2010, the biennial included two artists originally from Milwaukee, experimental photographer Josh Brand and painter Lesley Vance. In 2004, Milwaukee artist Santiago Cucullu created a giant, original mural with his now well known collage aesthetic for the biennial.
The full list of artists included in the biennial can be found at the Whitney's web site. The Whitney Biennial opens on March 7 at the Whitney Museum of American Art in New York.
Photograph of Paul Druecke by Kevin J. Miyazaki.
Tags: Whitney Biennial
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Fred Stonehouse returns to stomping grounds
No one talks about art the way Fred Stonehouse talks about art. Like some of his paintings, there is an element of the circus sideshow in the way presents his ideas, surreal entertainments to be relished.
His paintings are filled with visual booty. From the bleeding hosts and weeping Madonnas of his Catholic upbringing to the antique sideshow banners of state fairs, from the Day of the Dead artworks he collects and covets to the bizarre hybrid beings of beloved folk tales, Stonehouse cribs liberally from the history of art, popular culture, a rich array of visual sources and his own life experiences.
His work is described as landing somewhere between the magic realism and imagist traditions in the Midwest and Pop Surrealism. He returns to his old stomping grounds at the Univiersity of Wisconsin-Milwaukee Wednesday to talk about the last ten years of making art. The talk is free and open to the public at the Art Center Lecture Hall, 2400 E. Kenwood Blvd., at 7 p.m. on Wednesday. Stonehouse is represented in Milwaukee by the Tory Folliard Gallery.
Tags: Flash : Fred Stonehouse
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Ex Fabula is 'off the record' this month
What was it Sid Hudgens, the crooked publisher of a tabloid rag in L.A. Confidential, the noir novel by James Ellroy, would say? Ah yes, "Off the record, on the QT, and very hush-hush."
A dash of dish was as good as a dose of dope to hear Sid, played by Danny Devito in the saucy 1997 film, tell of it. Dirty stuff.
If you ask Bob Woodward, the Washington Post reporter famous for ferreting out the facts in the Watergate affair, which led to the resignation of president Richard Nixon, though, he'd tell you that getting sources to share secrets can be essential to breaking important stories.
The lore of "off the record," in both fiction and fact, is large and not always terribly clear. It's an idea that will fuel real stories told by Milwaukeeans at the next Ex Fabula storytelling event. The special guest storyteller will be Jessie Garcia, TMJ4 sports reporter. If you have a 5-minute tale to tell and want a shot at telling it on stage, show up early to put your name in the hat.
Ex Fabula's StorySlam happens at Wednesday at Lucille's Piano Bar, 1110 N. Old World 3rd St. Tickets are $7 (cash only). Doors open at 6:30 p.m. and show starts at 7:30 p.m.
Tags: Ex Fabula
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Former Milwaukee Art Museum curator goes to George Eastman House
Lisa Hostetler, the former curator of photographs at the Milwaukee Art Museum, will become the curator-in-charge of the George Eastman House's photography department by the end of the year, it was announced today.
Hostetler left the Milwaukee Art Museum last summer to take a post as the curator of photography for the Smithsonian Museum of American Art.
Hostetler was at MAM for seven years and curated several successful exhibitions, including "Color Rush: 75 Years of Color Photography in America," which included 22 photographs from the George Eastman House collection. Other exhibits included "Taryn Simon: Photographs and Texts," which toured internationally; "Street Seen"; "Unmasked & Anonymous," an exhibit exploring the work and influences of Manitowoc-based artist team John Shimon and Julie Lindemann; "Photographs from the End of the Earth"; and "In Living Color: Photographs by Saul Leiter."
"I met with many talented curators during our search process, but from its inception I considered Dr. Hostetler to be the leading candidate for this important position," stated Bruce Barnes, director at George Eastman House, on the organization's website this morning. "I had spent time with her on several occasions while she was at the Milwaukee Art Museum and was extraordinarily impressed with her knowledge of the history of photography and sharp eye for contemporary art. Her Color Rush exhibition was perhaps the most beautiful photography survey I have seen, and her early career retrospective of the works of Taryn Simon was a stunning revelation."
Hostetler's departure was a loss for the museum and one of several departures since last year, including Laurie Winters, the former director of exhibitions, who also left last summer; Mary Weaver Chapin, who left her post as curator of prints and drawings for a similar position at the Portland Museum of Art; Mel Buchanan, the assistant curator of design, who is leaving for the New Orleans Museum of Art; and most recently William Keyse Rudolph, who will leave MAM near the end of the year to become chief curator and curator of American art at the San Antonio Museum of Art.
The George Eastman House is the world's oldest photography museum and the third largest film archive in the United States, with holdings of 4 million objects, including photographs, motion pictures, cameras (and technology) and photographically illustrated books. It was established as a nonprofit in 1947. It is located in Rochester, N.Y., at the house and gardens of George Eastman, considered the father of popular photography and film.
To read more about Hostetler's influence in Milwaukee, here is my article on Milwaukee's art scene in the decade after the opening of MAM's Santiago Calatrava-designed building and my assessment of a decade of programming at MAM.
Photograph by Kevin J. Miyazaki
Tags: Lisa Hostetler : Milwaukee Art Museum : George Eastman House
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Review: 'The Human Touch' at RedLine
"Diversity" and "inclusive" are words too casually tossed about these days, and in the context of a corporate initiative they can easily lose any potential for edge and surprise. "The Human Touch" is an exception, and one that's as challenging to sort out as the vision it represents.
Every work in the exhibition deals with the human figure in some way, and all were created in the 1990s and '00s. After that, the similarities end. The 39 works represent 36 artists and, by my count, about 25 different techniques.
"The Human Touch" was culled from a collection assembled by RBC Wealth Management, and each work was intended for the hallways, lobbies, meeting rooms and executive suites of the firm's Minneapolis headquarters. RBC has decided to send about a tenth of its collection on an extended road trip to cities where it operates offices. RedLine Milwaukee is the 14th stop.
There are some powerhouse names in the show: John Baldessari, Kehinde Wiley, Carrie Mae Weems, Chuck Close and Elizabeth Peyton, to name a few. It's worth the visit to RedLine's intimate gallery space to see those alone.
Reflecting RBC's mission to portray "the rich diversity of our clients, employees and the people who make up our everyday lives," the exhibition also represents a cross-section of world views. Viewing it – stepping from canvas to print to collage -- is a bit like paging randomly through an encyclopedia. That can be a pleasure or a frustration, depending on what you're after. The exhibition doesn't appear to draw connections or contrasts among the different works. I found myself wishing it did, but my companion was perfectly happy to take each piece on its own merits.
And those individual merits are rewarding.
Dinh Q. Le's "weaving" made from strips of linen-mounted C-prints blurs and redirects the viewer's focus to comment on war in his native Vietnam. His large, untitled work juxtaposes real and romanticized figures.
Lalla Essaydi's photograph "Les Femmes du Maroc" is a gesture of rebellion. It confronts us with an Islamic woman whose back is to the camera. She's unveiled, hair dropping in a powerful mass down her back. Her robes and the backdrop she's standing against are lavishly embedded with Islamic calligraphy that's traditionally permitted only for men.
"Fernando," John Sonsini's oil-on-canvas portrait, grabbed my attention with its directness: a seated man, hands in lap, painted in loose strokes, gazing at the viewer with an expression that begs to be read but resists the attempt. Checking the program, I learned that Sonsini found his subjects among day laborers in the Los Angeles area.
Kerry James Marshall's "Blind Ambition" depicts a black man in a business suit, standing alongside a ladder. The word "Ambition" appears at the bottom of the ladder and "Success" at the top, with a barely visible "courage" hovering in the middle. Donald McNeil, who curates the collection for RBC, mentioned this work when I asked him if he sees the collection differently as it moves from city to city. Taken out of its normal setting and hung in a gallery, McNeil said, he has noticed subtleties that he didn't before.
McNeil has been working with the collection for 13 years. Until these shows, he experienced it as individual works hanging on some 15 floors of an office building. When he started, he said, "Blind Ambition" was displayed very visibly in executive offices where it was seen frequently by visitors. It's intriguing to imagine "Blind Ambition" presiding over executive-level meetings, or "Les Femmes du Maroc" accompanying white-collar types on a coffee break. Good for RBC.
These paintings made an impression on me at RedLine, but I wondered if a bit of their power was diluted in the semi-encyclopedic environment of a gallery show. It's a tricky business putting so many forceful human presences together in one space, where they feel a bit more like a chorus than distinct, singular voices.
Regardless, the effort to lean in and listen is one that pays off.
"The Human Touch: Contemporary Art from the RBC Wealth Management Collection" is on view until Dec. 23, and it's free. RedLine Milwaukee is located at 1422 N. 4th St. For more information visit redlineartmke.org.
Images from top: Untitled by Dinh Q. Le, "Blind Ambition" by Kerry James Marshall. Courtesy RBC Wealth Management.
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Zaza Pachulia wants to buy Bucks' old floor
It looks like Bucks power forward and center Zaza Pachulia is making a play to take the Bucks court home, according to Grantland.com, a website affiliated with ESPN.
Pachulia is interested in purchasing the recently retired basketball floor, a pretty standard issue affair, which was replaced by a floor inspired by an even older, 1977 floor designed by Pop artist Robert Indiana. The brand new floor, which debuted during pre-season games in October, features two giant Ms flanking the midcourt line, much as the more colorful Indiana floor did a generation ago.
But there's a slip up -- literally. The satin finish on the new floor has proven to be slippery for the players. So, the floor the Bucks were playing on for the last several years has been reinstalled until the new one can be resurfaced.
So, Pachulia may have to wait. His hope is to buy the floor from the Bradley Center for an undisclosed amount and donate it to a basketball academy in Georgia, where he played as a child, according to Grantland. A careful read of the Grantland piece would indicate the purchase is not a done deal yet.
Here is the full Grantland post.
Tags: Bucks : Robert Indiana : Zaza Pachulia
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Nominate art for the Christmas Day front page
The Journal Sentinel began a tradition six years ago by offering readers the gift of art on Christmas Day. In the space normally reserved for the top news of the day, we present readers with a work of art by a Wisconsin artist.
Last year, from more than 100 artworks nominated by museums, galleries, artists and readers, we chose Dottie Morelle Godden's modern design, a tree with a rising sun that she made for her annual Christmas card. We loved its stark, graphic beauty.
The year before we chose Debbie Callahan's "Madonna and Child," with its a theme of love and suffering explored for centuries in the history of art. In 2010, we chose "Three Kings" by Edmund Lewandowski, a little known work by the artist who created the mosaic for Eero Saarinen's War Memorial building on the lakefront. In 2009, we ran a reproduction of Georgene Pomplun's "Country Winter," a rural, Wisconsin snowscape, and in 2008, the very first year, we published Tom Shropshire's "Winter's Eve at Holy Hill."
This year, we will again reproduce a painting or print by a Wisconsin artist on the front page of the Journal Sentinel. The artwork will be selected by Publisher Elizabeth Brenner, Editor Martin Kaiser and art critic Mary Louise Schumacher.
We are looking for an image appropriate for Christmas Day and made by a Wisconsin artist, living or dead. The artworks should be paintings, prints or drawings. We are not accepting photographs or images of three-dimensional artworks.
To nominate an artwork, please send high-resolution digital images, the title of the artwork and the name of the artist (as well as a phone number if the artist is living) to email@example.com. Or, send a disc via the U.S. mail or deliver it to Mary Louise Schumacher, 333 W. State St., Milwaukee, WI 53203.
Museums with collections of Wisconsin artists are encouraged to submit artworks. There is no limit to number of nominations. You should have the rights to reproduce the image. Entries must be received no later than 5 p.m. Dec. 6 (and the earlier the better).
As we have in previous years, we will show many of the artworks not selected for the front page on JSOnline.com. To see image galleries featuring nominations from the past five years, go to Art City: www.jsonline.com/artcity.
Image galleries from previous years: 2012, 2011, 2010, 2009, 2008.
Tags: Christmas art
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Large trove of art taken by Nazis recovered
Wonderful works of art secreted away by the Nazis as "degenerate" keep turning up "like bottles washed ashore," writes Micheal Kimmelman for The New York Times this morning, reporting on the latest trove of works discovered and unveiled in Augsburg, Germany, Tuesday.
About 1,500 pictures, a particularly large stash, were discovered in the Munich apartment of an old man whose father was a dealer in the Nazi era. From the initial reports and some blurry online reproductions, the collection appears to include works by Matisse, Courbet, Franz Marc, Max Liebermann, Marc Chagall, Max Beckmann and Ernst Ludwig Kirchner.
The Associated Press reports that the German government is seeking to release information on the seized artworks, but prosecutors investigating a tax case related to the art are declining to provide the information. Jewish groups have called to have the information made public so families of Holocaust victims could recover art taken from them.
Here is the full story in The New York Times.
Tags: Nazi : art
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'Before I Die' wall installed at Sky High
Death has a way of clarifying life, or so say great philosophers and New Orleans artist Candy Chang. It has a way of making us examine the kind of person we want to be, the life we want to live, the people who are important to us.
On Tuesday, people in the Bay View neighborhood were confronted by the finiteness of their lives as a result of one of Chang's projects. A wall that reads "Before I die I want to..." and has little buckets of colored chalk so people can fill in the blanks was installed at the Sky High Skateboard Shop and Gallery, 2501 S. Howell Ave., and in cities across the U.S. on Tuesday.
"I feel like you have to do things now, before it's too late," said Kelly Karwoski, 24, who lives near the Bay View wall and found out about the project via a friend on Instagram. She came especially to leave her resonse.
"I don't want to be 75 and in a nursing home and regret the things I didn't do," said Karwoski, who wrote "See the world" in bright pink.
Marilyn Whitefeather, 60, was out on a walk, getting her daily exercise, when she encountered the wall. She wrote "Be Reborn" in large letters.
"My mother and father told me when I was little than I was reborn from an old lady," she said, adding that some native Americans believe that one life is passed into another this way. "For my great grandchildren, my grandchildren and my children, I want to be reborn again."
By mid afternoon, in the first few hours after the wall had been installed, six or seven people had stopped to leave their thoughts. The responses included "give back," "become truly happy," "learn music theory" and "be interviewed on Fresh Air." Others stopped momentarily to read what others had to say. The wall will remain up until Dec. 4.
Chang was first inspired to make one of these walls after the loss of a dear friend. The project has since been replicated 350 times, in more 25 languages and in more than 60 countries, including Kazakhstan, Portugal, Japan, Denmark, Iraq, Argentina and South Africa.
Walls went up Tuesday to celebrate the publication of the book "Before I Die" (St. Martin's Press) which documents people's reactions around the world. Chang has created a kit to create a wall and has allowed other artists to install them. The Bay View wall was created by artist Kristina Rolander.
Tags: Sky High : Before I die : Sky High
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Taking the art critics out to the wood shed
So I spotted this 68-point diatribe to the world's art critics thanks to Jerry Salz, art critic at New York Magazine, who shared it on Facebook. I can't help but marvel at -- and love! -- the honest, right-between-the-eyes honesty of it, even if it's a bit trite at times. So here is some quick, Tuesday-morning call-and-response. It looks like it was slammed down fast, so I am going to respond in kind, from the hip, for what it's worth.
3. Stop using events as reasons to write about artists—that just privileges the ones lucky or rich enough to be having events.
Mary Louise: I tell myself this all of the time. Some of the best artists I know are not saleable and therefore not in our local galleries. Some of our better artists show in commercial galleries in other cities but not here in the Midwest (a shame, actually). And some great art happens and gets experienced on the street.
8. Interview artists. Ask questions _about the art_ not about where they grew up or what they named their dog.
Mary Louise: This reminds me of another diatribe from Devon Britt-Darby (formerly Douglas Britt and formerly the art critic at the Houston Chronicle) about gallerists and the time suck of small talk (among other things). This morning, Jerry Saltz commented on this point, saying he would never interview an artist when writing about his or her work. The work itself has to do the speaking, he says. In general, I agree with the principle behind what Saltz is asserting. The art has to do he work and shouldn't need the help of any explanation on the part of the artist. We also have to put ourselves in the shoes of the audience, who will come looking, often without the opportunity to talk to the artist. At the same time, I sometimes get a lot out of my discussions with artists. Every now and then I am glad to know they are human beings with dogs at home. And, quite honestly, there is a lot of work being made today where that purist critic-to-object approach no longer applies. It makes things confusing and the lines blurry. It is our job to develop an independent point of view one way or another.
10. Look at things that are just there for free: teatrays, pickles, pigeons. If the art is like that, don't write about it.
Mary Louise: So deeply wrong. I don't often say, "Gosh, this art isn't as good as pickles," but maybe I should. Some artists would do better aspiring to create work on the level of tea trays and pickles rather than on the level of what they see on the pages of ARTFORUM. And pickles aren't free, by the way.
20. If reality TV, Netflix documentaries, Vice, Youtube or anybody else are already doing what the art does better, don't write about it.
Mary Louise: This assumes that art can't be found in reality TV and Youtube. Wrong. Visual culture is everywhere. See point 3.
30. Start a band or do some music journalism. It will free you of the obligation to try to meet people to sleep with at art openings.
Mary Louise: Yes! I think critics experimenting with forms -- which many of them do today, if you haven't noticed -- is always a great exercise in how to frame ideas. I've been dabbling in podcasting of late, and I like what it's doing to my thinking.
32. Realize all group shows are (expletive deleted). Use them for what they are: mercenary opportunities to get the folks you like in front of people.
Mary Louise: A gross over simplification, to be sure, but too often true.
34. Read: David Thomson's Biographical Dictionary of Film (that's how you describe people)
35. Read Borges "Collected Nonfictions" & David Foster Wallace's "Tense Present" & Orwell's "Politics & the English Language"
36. Read Lolita. This is the best & most extended work of art criticism in the world. Humbert is the critic, Lolita is the art. Be careful.
Mary Louise: I am going to have to agree with Jerry Saltz on this one. I don't need your mandated reading list.
37. When in the presence of beauty or talent, be humbled by the realization that it is unknowable & bigger than you OR the artist.
Mary Louise: Bigger, yes. Inexplicable, in a sense. But I think we do art an injustice by describing it in such mysterious terms. The job of a critic is to help people see why they are awed by something. Or at least to try.
41. Read Susan Sontag "Against Interpretation" & at least one essay by Sarah Horrocks on some comic book you never heard of
42. Read David Sedaris' 12 Moments In the Life Of The Artist. Use it as a gut check: am I one of these assholes? Why not?
46. Once you read 12 Moments in the life… read Thorsten Veblen's Theory of the Leisure Class. You write about Veblen goods. Don't forget.
Mary Louise: Love Sontag, but don't make me repeat myself.
55. Remember the art isn't just competing with other art, it's competing with everything else you could do that day. It must win anyway.
Mary Louise: Yes, yes, yes. And writing about art is competing with all of those things and writing about all of those things, too. This is especially true for art critics writing for mainstream publications, where articles and reviews appear beside articles about "Homeland" on HBO or last night's Packers game. Art winning is one of my goals, in fact. In that way, critics can be and perhaps should be evangelists (little "e") for art.
57. Never trust an artist, critic, or curator who says they are "interested in problems…" that they aren't actually trying to solve.
Mary Louise: Agreed. There are four words that artists say a lot: "I am interested in..." (emphasis mine). It's telling.
60. When there is corruption or injustice artists & dealers cannot afford to name names. Not even Banksy names names. You can. Do it.
Mary Louise: On it.
68. If you disagree with any of this—or anything an artist or critic says—and don't talk to them about it: you're part of the problem.
Mary Louise: It's so true. I am open to hearing all kinds of grumbling, complaints, concerns, misgivings, pointers and diatribes. I am committed to the dialogue. I really am. Email me at email@example.com.


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Home » Opinion » Editorials
Gun homicides: NH over New York City any day
- Clifford D. May: Pinpointing the cause and effect in Gaza - 1
- You Turn, NH -- Suellen Griffin: There is first aid for mental health, too, and it works - 2
- Pat Buchanan: We are transforming into the Brazil of North America - 2
- Gail Fisher's Dog Tracks: Before your dog takes a dip in fresh water, learn about toxic algae risks - 0
- Another View -- Yehuda Yaakov: What Israel is up against - 7
- Another View -- Betsy McCaughey: Scaremongering is the left's hobby - 2
- Another View -- Steve Stanek: Impact fees for new homes actually raise property taxes - 6
- John Stossel: Who will build the roads? - 0
- Jonah Goldberg: Attacking Israel with the big lie -- genocide - 1
Another View -- Stephen L. Carter: Why is the left going after profit?READER COMMENTS: 3
- Rochester eyes another Legion baseball crown - 0
- Only a freshman, Kennedy excelled on the track - 0
- Looking Back With Aurore Eaton: The Manchester Opera House makes its stunning debut - 0
- Another View -- John Dumais: Mandatory GMO labeling is all cost, no benefit - 3
- What's the rush? Executive Council follows Pelosi plan - 1
- On Baseball: Fisher Cats prove point - 0
- Evan Turner, Celtics see upside in new deal - 0
- Thunder take two from Fisher Cats - 0
- Ortiz, Drew (4 RBIs each) lead Red Sox hit parade against Blue Jays - 0
37 hikers rescued from Mt. Major in Alton during weekendREADER COMMENTS: 1
Market Basket workers urged to 'shut it down'; deposed CEO urges fired workers be given jobs back
Shaheen's record: On insurance, it is dismal
Anti-SUV flop: Americans love utility
Police say boy, 6, found in getaway car
Market Basket workers urged to 'shut it down'; deposed CEO urges fired workers be given jobs back
U.S. appeals courts issue conflicting rulings on Obamacare exchange subsidies such as NH's
Shaheen's record: On insurance, it is dismal
Anti-SUV flop: Americans love utility


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The Macon Business Women of Missouri met on Feb. 18 for its dinner meeting at a local Macon restaurant at 6 p.m.
President Brenda Clema brought the meeting to order, followed by the Pledge of Allegiance to the flag and recitation of the club Collect.
Cards and memorial gifts were presented to Evelyn Brown and Pat Maloney in sympathy for their loss of family members.
Both old and new business was discussed. Club dues are to be paid in May.
President Clema announced the Northwest Inspirational Breakfast meeting will be in Kansas City on March 30, at the Hilton Airport Inn.
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