Notes from the Visual Arts Forum at Haggerty
Things heard and observed at the State of Art: Open Forum about the Visual Arts in Wisconsin held at the Haggerty Museum of Art on March 26, 2009 Forum participants: Jane Simon, Curator of Exhibitions, Madison Museum of Contemporary Art. Polly Morris, Director of Development, Marketing & Outreach at UWM Peck School of the Arts, Milwaukee Arts Board member. George Tzougros, Executive Director, Wisconsin Arts Board. Debra Brehmer, arts writer, owner of Portrait Society Gallery and art history instructor at the Milwaukee Institute of Art and Design * I arrived early to look at the Current Tendencies: Ten Artists from Wisconsin survey show. I am impressed and captivated, mostly at the transformation Haggerty itself has undergone in the past year to expand its space and scope. Gone are the permanent collection pieces that often featured religious themes and replaced with more provacative work. The selections in this show seemed to be calculated, however, to find individuals set to specific voices. In one room, beaded dolls from Anne Kingsbury seem Native American. The next room has giant paintings of nude Black males by George Williams, Jr. The next, minimalist folk art objects by the late Peter Bardy. Another incredible room created by Jennifer Angus is covered with faux-wallpaper insects and 3D bugs over all four walls. One more room contains paper cutting art by Xiaohong Zhang. The other five artists are less distinct in perspective (except maybe Sonja Thomsen’s Lacuna, which could be described as Caucasians in Wisconsin based on content and concept) but they are all just as compelling. The evening starts as the room nearly fills. Haggerty Museum Director Walter Mason gives an opening speech about questions circling visual thinking and then gives directions on what will happen here. There is to be introductions followed by opening up to the floor to queries. He makes an aside, seemingly joking, that there will be no complaining. This falls on deaf ears as the conversation will immediately devolve to subjects of funding, exposure, and the lack of critical evaluation of local art. If I had a chance to ask a question, it would have been more like “so what have you seen lately and how did it move you?” I always attend these events hoping to talk about art, but they always end up being about tangential subjects to art itself. Introductions start with Debra Brehmer, who takes up the most time initially with a clever photoshopping of a crucifixion painting showing a trinity of artist, dealer, and collector along with bystanders representing media, educators, and others. As the former editor of Art Muscle, Brehmer laments the present-day lack of a print publication that could showcase and critique local art (like Art in America does in a national publication). Evoking Art Muscle’s name will happen again and again by the audience, who may not understand the financial difficulty with putting out a physical edition of something in a period of skyrocketing paper costs and plummeting ad revenue. George Tzougros is next. He’s thankful for […]
Mar 27th, 2009 by Brian Jacobson
Friday Photos Friday, 27. March 2009
Aloft Aloft The Edge South Water Works Corcoran Lofts
Mar 26th, 2009 by Dave Reid
A Not-At-All Academic Comparision of Let the Right One In and Twilight
Fig.1: Frodo of the Shire checks out Arwen Evenstar’s Elven tush (I think he’s on a footstool) When it comes to horror, I’ve always been all about the zombies. Until recently, my list of favorite horror movies was probably interchangeable with my list of favorite zombie movies: Dead Alive, Dawn of the Dead (the original, although it pained me to admit that the remake was actually pretty serviceable, despite the aerial shot of “Milwaukee” with all the in-ground pools), and 28 Days Later all take some piece of the zombie mythos and make it special for me, especially Dawn and 28 Days, both of which use zombies as a mirror of humanity in some respect (which is what the best horror and sci-fi movies do). And then of course there’s Shaun of the Dead, which somehow manages to do the same while being hilarious. But in 2008, it was all about vampires. It started with the HBO series True Blood, which I will now summarize for you (because I watched every ridiculously-entertaining-despite-itself episode) in twelve words: Sookie Sookie fuck Sookie, fuck fuck, Jason’s dick, blood tits fuck Sookie. Fig.2: Compare with the Shire photo and tell me which movie you’d rather watch? But the hell with the adult vamps; 2008 was all about immortal bloodsuckers trapped in the bodies of teens and pre-teens. In Sweden, this meant the release of Let the Right One In, a beautifully understated horror drama about the relationship between two painfully lonely 12-year-olds, Oskar and Eli, one of which has been twelve for a long, long time. In America (because 200+ years later, America is still the equivalent of Europe if its mother fed it crack in the womb), this meant the premiere of Twilight, a romantic comedy about a constipated teen vampire named Edward Cullen who falls in love with Bella, the new girl in his chemistry class, simply because she makes him jizz in his pants upon first sight (according to animated gifs on the internet, anyway). Also, vampires take chemistry class, because that’ll come in handy on that college application so you can go to school and WAIT YOU DON’T NEED TO OPERATE IN EVERYDAY SOCIETY BECAUSE YOU’RE A GODDAMN VAMPIRE. It’s probably unfair to compare the two—heck, Twilight author Stephenie Meyer admits she didn’t even know that much about vampire mythology when she wrote the damn thing (then again, all the more reason to take her to task, eh?)—but plenty of reviewers took that path already, lazily mentioning both movies in the same breath even though the age of the principal characters is about all the movies have in common with each other. And heck, since when has Cultural Zero been about fairness? Having already seen Right One multiple times (and yes, I’m aware of the controversy involving the DVD’s subtitles, so everyone can stop sending me links already, Jeebus), some friends and I popped in Twilight last weekend and watched both films back-to-back. As expected, comparing the two was like […]
Mar 26th, 2009 by DJ Hostettler
M.O.R.E. – Common Council March 25th, 2009 Meeting Notes
The M.O.R.E ordinance was the most widely debated action taken at this Common Council meeting.
Mar 26th, 2009 by Dave Reid
The School for Wives
On a sparse but well used stage, laughter filled the Milwaukee Youth Arts Center when teenage thespians, known as “The Young Company,” presented Moliere’s classic The School for Wives. Under the leadership of accomplished actor and Associate Artistic Director John Maclay, First Stage Theater Academy’s advanced pre-professional training program for high school students inventively added an interesting diversion to the casting. All the roles (except one) were inverted by gender so a six-foot tall African American male actor enhanced the shape of sweet, naive Agnes. If reversing roles seems absurd, this casting twist imparts Moliere’s words with even more wit. To hear Arnolphe, as a tiny young woman bound in suit and tie, apply the script’s criticism to her own sex, “with regards to their frailty, silliness, and that their souls are bad,” immediately impacts the meaning and upends the play. A light dose of contemporary music, including the song “Staying Alive,” also add to the tongue-in-cheek tone of this French farce that observes the dynamics of femininity, masculinity and marriage playing against age and destiny. The story relates the tale of Arnolphe, a 42-year old man who has groomed his ward Agnes to be his bride since she was age four, but denies her individuality and intellect in hopes she will never stray after matrimony. But all it takes is one look from the right young man, Horace, to win her heart by affirming her intelligence and insight. With the combination of mistaken identities and motives characteristic of Moliere’s plots, fate eventually intervenes in Arnolphe’s calculated plans. Fine acting by Jeremy Tardy, costumed with white heels and a bow tied bonnet, creates a young Agnes who is charming, capable and clearheaded to great effect, a difficult role when played by the appropriate sex. As the maid Georgette, Joe Mazza captures this personality with affable eccentricity. The young women, especially Kelley Annesley, Madeline Bunke, and Rachel Schmeling, handle the male counterparts with complete ease, while the entire cast gives Moliere’s coupled dialogue an approachable and familiar rhythm. Many of the 40 Young Company members also work behind the scenes on technical skills because the purpose of this First Stage program is training youth in every phase of theater by working with the top professionals of the regional area, which extends beyond Milwaukee to as far away as Minneapolis and Chicago. Annual auditions determine this select group that additionally prepares for National Shakespeare Competitions across the country where they often garner top honors. The Young Company’s next performance happens May 8-9 with the world premiere of The Body of Christopher Reed, a weekend opportunity to view the impressive achievements of one of the largest Theater Academies for youth in America. Complete event listings for this and all things happening on Milwaukee stages can be found at Footlights online.
Mar 26th, 2009 by Peggy Sue Dunigan
let’s get small
It’s been another terrible week for newspapers. Four Michigan cities will soon be without dailies; Reuters reported yesterday that Conley Media is cutting the Monday editions of the Waukesha Freeman and the West Bend Daily News (what will they call it now?); Cox Publications is cutting about 245 jobs at the Atlanta Journal-Constitution; Hearst Corp. is relieving about 200 employees of their positions at the Houston Chronicle; the Milwaukee Journal Sentinel is likely to see another round of layoffs very soon as well. These cuts represent staff reductions of 10 to 30-percent at their respective institutions, outpacing even the grim overall decline in American jobs exponentially. This is just one week, not even worse than last week, or the week before. We all get it. The newspaper iceberg is melting faster than polar bear habitat. Many journalists I talk to now have shifted their thinking from wondering when flood will subside to setting up their music stands on deck. This latter carries a certain air of tragic nobility, but it’s really a crying shame. Even iconic Madison newsman and WPRI think-tanker Marc Eisen seems unable to move beyond the mathematics of hopelessness. And that, if you have followed his illustrious and dedicated career, is not a good sign. Think about it: if the very people who hold our best hope for preserving journalism have given up, then what chance do we have? It’s time to think small In the now-notorious TIME Magazine article from February 5, 2009, former managing editor Walter Isaacson proposes that a micro-pay system for accessing online news content could help to rebuild plummeting newspaper revenue and decrease journalism’s reliance on the will and whims of advertisers. Regrettably, the article has been widely dismissed by many in the industry who are dead certain that readers will not pay for content. I beg to differ. We willingly pay for premium television, for cell phone service, for high-speed Internet, for satellite radio, for GPS service. We buy music on the web. We pay monthly subscription fees for web-based services and to download books to our Kindles. There was great resistance to all of these things at first, but in the end, appetite overtook the reluctance to pony up. I don’t understand why it would be different for news, which has never been consumed in such quantities as it is today. But despite how obvious it seems to me (and other, far more qualified minds), this thinking is widely dismissed by the dwindling journalism community itself as over-simplistic. “People will still find a way to steal it” is one argument, as is “Someone will always be willing to provide it for free.” So what? What about the thousands of pirate music sites you can’t swing a dead cat without hitting? As far as I can tell, the fact that people will continue to steal music didn’t keep iTunes from selling $3.4 billion worth of songs, 99-cents at a time, in 2008. That’s an $840 million increase over 2007, despite the […]
Mar 26th, 2009 by Jon Anne Willow
The Yin and Yang of Economic Recovery
It was like a week-long stimulus package for political junkies. First, President Obama’s appearance on NBC’s Tonight Show made him the first sitting president to appear on a late night talk show. Not really a historic event of epic proportions but Jay’s ratings spiked and that accounts for something. Then the president’s 60 Minutes interview, his second in two months, provided him with another platform to take his message directly to the American people. This kind of audience isn’t something to be taken lightly but he still wasn’t done. By the time of his Tuesday night primetime news conference, also his second since taking office, even strong supporters were wondering if Obama was risking overexposure. Yet today, Obama is on the internet responding to questions from the public. The president appears to be one of the nation’s greatest sources of renewable energy, outdoing even that tiresome cartoon rabbit as he keeps going and going and going. Drawing on FDR’s successful fireside chat strategy but updating it for the 21st century, Obama seems to combine the legendary communications skills of Ronald Reagan with the policy acumen of Bill Clinton. Clinton was good at appearing at ease and in control of the facts but Obama’s performance is in a class all by itself. He makes mistakes, for sure, but even an East German judge would award him at least a 9.7 given the degree of difficulty. Few people actually understand the intricacies of the financial system, let alone know how to fix it. But we expect our leaders to. We judge them on the critical measures of competence, confidence and commitment, and Obama has earned high grades on all three. During the campaign, Obama was often labeled as a rock star and John McCain tried to make this into a negative. But we want to be infatuated by our leaders as long as they also demonstrate the energy and ability to attend to our needs. Obama’s greatest strength has been his ability to walk this fine line; inspiring while occasionally chastising, showing intelligence without appearing wonkish, and working hard enough to appear focused without appearing to strain under the pressure. I know it’s only been two months but we live in a society with little patience. Some people on the right and the left made up their mind about Obama a long time ago and probably won’t change under almost any eventuality. But the president’s popularity and, to a great extent, his success will depend on the response of the critical mass in the middle. It is way too early to assess the success or failure of the Obama presidency. But on the critical metric of public confidence you have to give the guy credit. He seems in charge, he seems to have a plan and he seems to be up to the challenge. The naysayers are apoplectic about how much debt the federal government is amassing. Well, duh! But Obama has not been blind to this problem and has returned time […]
Mar 26th, 2009 by Ted Bobrow
Denouement
It’s official: Takashi Soga’s proposal has been approved for the Lincoln Park site. On March 13, the public art committee voted in favor of Soga’s project, bringing some closure (for now) to what has been an arduous and controversial process. First things first, though: some corrections and clarifications need to be made. In Part One of this piece I included an excerpt from a press release written by Pegi Taylor of IN:SITE, and also stated that Soga’s project would cause the City of Milwaukee to incur an additional $100,000 on top of the $250,000 budget for this site. I was able to obtain Takashi Soga’s official proposal (not available in time for Part One) and verified that each of Soga’s proposed pieces would stay within the amount allotted. However, the hubbub was not because of an additional $100K; it was simply that this amount of the budget would be spent on design fees, a misinterpretation on my part. Despite the fact that the piece will stay within the budget, IN: SITE still questions whether $100K in design fees is “appropriate … for a piece Soga has already designed.” IN: SITE raises the question as to whether or not the design fees are “paying for [Soga’s] name.” In Part One, I also reported that a proposal by local artists John Riepenhoff, Cat Pham and Sarah Luther was included in the top five submissions. It has come to my attention by selection committee member Barbara Opferman that this is also incorrect. Though an innovative concept, this project was not a finalist for the selection committee. However, it was favored by IN: SITE as a superior design. That’s what we know now. Here’s what you may not know. The Takashi Soga decision was not made overnight. In fact, the selection process for the Lincoln Park site began over a year ago when the original call for artists went out. At that time, however, the selection committee was not able to make a unified decision. “We interviewed 3 artists,” says Opferman, “They were from Chicago, Iowa, and Canada. I believe we received about 10 responses from the community at that meeting. As a board, we were unable to come to a consensus for a variety of aesthetic and practical reasons, which is why we revised the RFP and decided to repeat the process.” The second RFP went out in November 2008 and over 100 entries were reviewed. Local sculptor Richard Taylor sat on the public art selection committee for this second round of submissions. “We narrowed it down to a group of 6 or 8 potential artists, and with further discussion on each of these, found something to object to in all of them except Takashi Soga’s work,” Taylor says, adding, “There were a number of us on the committee who immediately reacted to Soga’s work as rising above all other entries.” The principal objections to the other proposals were based on their vulnerability to vandalism, whether the materials used would stand up to […]
Mar 26th, 2009 by Erin Petersen
Now in glorious 3-D!!!
Before it ever became a fond figment of Americana (akin to drive-ins), 3D movies were an effective means of getting people in seats. Studios and distributors alike have a long history of using primal urges and emotional selling points to get your business, from the first sale of popcorn, Cinerama, and Smell-o-vision to today’s shilling of ultra-combos, IMAX and THX sound. But using 3D is a trick of the brain; the device makes a user feel something more than what is there. Objects and actions on a screen appear, surreally, somehow more vivid than what one could experience in real life. It activates nerve receptors that stay locked in fascination until the gimmick wears off and common sense returns. 3D movies therefore offer something hyper-real that tricks us into finding more emotion, drama, suspense or comedy in the story than is really there. This weekend marks the unofficial and incredulous early opening of the big-budget summer movie season with the premiere of DreamWorks’ Monsters vs. Aliens (in 3-D). One could argue that this posited leap-start to the season happened weeks ago with the splashy release of Watchmen, but that opening was to a much smaller niche audience. Opening a kids’ movie in general requires a special finesse and a whole lot of chutzpah marketing. These days, family movies can be sure-fire money makers and a hard-sell item paradox. Parents want to allow their kids entertainment treats by taking them to High-School Musical 3, but don’t want to sit through Tales of Desperaux or Jonas Brothers in Concert (in 3-D!). Kids want to buy memorabilia and t-shirts from their new favorite movie, but if the story isn’t emotionally solid enough, no one buys the Happy Meal toy. Movie producers and distributors can’t sell more tickets than there are people, but want more money. So how do you generate excitement and anticipation for a blockbuster family film when the market is glutted with offerings? Enter 3D or ‘Real D’ technology, for which all of DreamWorks Animation’s movies will now be adapted. Disney made the same point two months prior by showing the first visually-stunning all stop-motion movie Coraline in Disney Digital 3D, which uses the same technology. There is a slate of almost a dozen movies coming out this way in 2009, and lots more on the way next year. This new technological format was first introduced four years ago, but it wasn’t in widespread use until many theater chains agreed to put the requisite projectors in their multiplexes. With the agreement came a host of planned 3D movies with 2D versions at adjoining theaters. You’ll pay as much as $3 per ticket extra for the 3D screening, an upgrade that comes with hard plastic glasses that allows the magic to happen. The catch? You have to give them back. It’s a head-scratcher both in logic and purpose. At the end of your 3D experience, ushers wait with open hands ready to confiscate your “rental”. While theater owners are desperate to get seats […]
Mar 26th, 2009 by Brian Jacobson
A handful of observations
AUGUST RUSH I’ll put August Rush on the ring finger because it is a fantasy romance and I think of marriage that way lately. I don’t really like the picture, except that the romance is mostly told with music, and Freddie Highmore, the child actor from Charlie and the Chocolate Factory and Finding Neverland, is the star. A friend of mine started a play of hers with a quote from Kurt Vonnegut: “If I should die, God forbid, let this be my epitaph: THE ONLY PROOF HE NEEDED FOR THE EXISTENCE OF GOD WAS MUSIC.” I think this film’s embrace of music – and of the possibility that a human can be gifted beyond understanding – suggests the existence of God as well. It’s the shots of people listening that give me that rush of emotion, that make me tear up and gasp. It’s true especially in films about music, but I think in any film about art and artistic expression, the key moment is the appreciation of the action, the moment when everything is redeemed because the audience actually hears what is being played, sung, spoken, acted, or expressed and recognizes that something extraordinary is happening, that a window is being opened into a soul and a life is being exposed with grace and dignity. My heart goes to the audience because, if Kurt Vonnegut is right, the artist walks with God, and in a way brings that as a gift to the listener. The moments of recognition in August Rush gave me that. GOLDFINGER and QUANTUM OF SOLACE The middle finger and the thumb … I spent the weekend at an autograph show with Tony Curtis, Angie Dickinson and Shirley Eaton. Shirley Eaton was the beautiful blond who betrayed Gert Frobe in Goldfinger, my favorite of the early James Bond movies. I hope that one of my last memories will be of Shirley Eaton, dead and naked, lying across Sean Connery’s bed, painted gold. If I’m still having erotic thoughts – and that is the hope – one of them will be of her. Goldfinger was 1964 and she still holds up. Fine featured and elegant, wearing gold tones, a very gracious lady and charming with the many fans that came to see her. The early Bond films celebrated a particularly decorative notion of maleness. They also celebrated the notion of the female as decoration. The new Bond, starting with Casino Royale and Daniel Craig, redefines maleness and the position of the female in his life. Craig’s Bond is a thug, a brutal man with the focus and concentration of a soldier machine who learns charm, social grace and maybe humanity itself when he falls in love with a woman. In the sequel, Quantum of Solace, which came out on DVD and Blu-Ray on Tuesday, he is set on revenge for her death at the end of Casino Royale. It’s a James Bond with human feelings and fast cars and million dollar stakes at the gaming table. But […]
Mar 26th, 2009 by Mark Metcalf
The root of all good
Like most of America, money has been on my mind a lot lately. Ironically, the less of it you have, the more it seems to weigh. When I watch the news, read print headlines or virtually talk to anyone who has a strong opinion about financial bailouts, this thought keeps running through my head: Money is the root of all evil. Although the origin has been debated, this phrase was most likely first spoken in the Bible. And has been miss quoted for a couple thousand years. Jesus actually said, “The love of money is the root of all evil.” Which means we’re even more screwed. The difference here is more than semantics. The word love makes it emotional. And it puts the responsibility where it belongs: the human, not the dollar. After all, money is a mere object that people made almighty. We’ve given it power. We’ve given it life. Last year, we even gave it a facelift. Only kidding. Here is the real redesign – just in case you went to your wallet to see for yourself – and found it empty. So if the love of money is the root of all evil, what’s the root of all good? Is there a currency for that? Can you save a few small allowances of wonder and purchase an order of joy? And maybe a side of smiles? (I’m going to stop this analogy now before I call it a Happy Meal and risk trademark infringement. And my dignity.) But, I really do wonder what’s at the root of all good. And if the love of love became its own payment system, would the government also need to help us regulate that? (Insert your own commentary on Prop 8 here.) Would the greedy among us hoard love? And then lie about it? Would the commoners have to lock what love they have up at night? I don’t think so. I think if love had as much tangible power as money, there would be fewer padlocks. Less financial-related depression. And more sustenance – regardless of what’s for dinner. There would be more of an inclination for sharing – if for no other reason than the fact that you’d really have nothing to lose. Only a lot to gain in the form of reciprocity. For the record, I realize affection can’t clothe and feed you. And you can’t drive happiness to work. Or use goodness to pay for your children’s education. But, nowadays, most people can’t pay for school with money, either. So I think we should try it. Let’s live as if love is the root of all good. Let’s use it to help build a nation rich in respect, honor and understanding for each other. Let’s remember love is patient. Love is kind. Love is kinda like weed. Except legal in all fifty states. Let’s make sure we have plenty of love to hand down to future generations. And learn to manage it with wisdom. But most importantly, when we […]
Mar 26th, 2009 by Michelle Sieg
Art and money
It’s hard to keep your eyes off the blood on the walls. I’m talking about the work of Steve Somers, a graduate of both Milwaukee’s High School of the Arts and MIAD. He’s worked as a curator, exhibited at the now-defunct Luckystar Gallery, the Milwaukee Art Museum as part of several Cedar Block events, and most recently at the Acrylic Age Gallery in Berlin (Germany – not Wisconsin). We’re in his home discussing a few things – chiefly how he walks the line between making a living and making art. Steve spends his days working commercially for clients like McDonald’s and Disney and spends his free time painting (as well as putting together a self-published book of his own work – Individuals in a Group – available later this year). I’d look out of touch if I didn’t ask the most obvious question – the one you can’t escape from these days: “Has the economy effected your work?” Steve initially answers “No,” and then, quickly, “But I haven’t scheduled any shows this year.” Steve explains that he’s going to spend the time “working on bigger pieces; more epic works” and that he’s challenging himself and “concentrating on painting.” No one could ever look at Steve’s work – chuck-full of festering wounds, contorted figures writhing in agony and bizarre plant life – and accuse him of playing to the consumer, but he echoes what I’ve heard from several area artists. Instead of following the retail trend to lower prices and produce smaller less expensive work artists have begun just get back to basics – making art. An upside to the current economic slump? Well, there’s got to be a silver lining – right? Art made with the purest of intentions, bucking the decade long trend of art for commerce and returning to art for art’s sake, sounds 99.9% pure. See Steve’s art: http://stevesomersart.com/
Mar 26th, 2009 by Gene Evans
